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THE OMAR TOUSSOUN
COLLECTION
IN THE

GRAECO-ROMAN MUSEUM

Bibliotheca Alexandrina Cataloging-in-Publication Data

Savvopoulos, Kyriakos.

The Omar Toussoun collection in the Graeco-Roman Museum / Kyriakos Savvopoulos, Robert Steven Bianchi, Yasmine Hussein.
-Alexandria, Egypt: Bibliotheca Alexandrina, 2013.
p. cm. - (Graeco-Roman Museum series ; 2)

ISBN 978-977-452-239-7

1. Jusun, Umar, Prince, 1872-1944. 2. Mathaf al-YunanT al-RumanT (Alexandria, Egypt). 3. Sculpture - Greek and Roman. 4. Sculp¬
ture - Egypt - Alexandria. I. Bianchi, Robert Steven, 1943- II. Hussein, yasmine III. Alexandria and Mediterranean Research Center. IV.
Title. V. Series

733 -dc22

2013680426

Sources of Images:

AlexMed (Digitized negative glasses of the Graeco-Roman Museum and modern photos archive) excpect, fig. 12: G. Holbl archive;
fig. 27 and page 131:1. Darwish archive; fig. 28: Italian Archaeological Mission in Alexandria (MAIA), Paolo Gallo, Turin University.

ISBN 978-977-452-239-7

Dar El Kuttub Depository No. 1520/2012

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Bibliotheca Alexandrina

THE OMAR TOUSSOUN
COLLECTION
IN THE

GRAECO-ROMAN MUSEUM

Kyriakos Savvopoulos, Robert Steven Bianchi and Yasmine Hussein

Graeco-Roman Museum Series 2

The Alexandria and Mediterranean Research Center

CONTENTS

PREFACE 7

THE HISTORY AND ARCHEOLOGY OF THE CANOPIC REGION 13

CATALOGUE 37

APPENDIX: PIECES OF THE OMAR TOUSSOUN COLLECTION NOT INCLUDED IN THE CATALOGUE 153

BIBLIOGRAPHY 201

Fig. 1. Prince Omar Toussoun

PREFACE

This volume is dedicated to the OmarToussoun Collection of the Graeco-Roman Museum. It complements the
revised edition of the preliminary publication of the Bibliotheca Alexandrina (2008). The collection is wide ranging
and includes architectural elements, sculpture, minor arts and pottery, all of which have as their provenance the
Canopic region, 20 kilometers east of Alexandria. The collection was donated by the prince in 1923, and was
exhibited in Room 22, named The Prince OmarToussoun Hall in his honor.

Born in Alexandria in 1872, Prince Omar was descended from Mohamed Ali on both sides of his family
(Fig. 1). He was the great-grandson and the great-great-grandson of Mohamed Ali. His father, Prince Mohamed
Toussoun, was a son of Said Pasha, Wali of Egypt 1854-1863 and the fourth son of Mohamed Ali, while the prince's
mother, Princess Fatima Ismail, was the daughter of Khedive Ismail.

Prince Omar studied business and languages in Switzerland, while traveling in Europe for an extended period
of time before returning to Egypt. In addition to Turkish, which was still the language of the Egyptian court in his
youth, and Arabic, he spoke French and English, and apparently had some knowledge of classical languages as
well. After returning to Egypt, he was occupied in a wide range of public activities which reflect his multidimensional
personality. Apart from his engagement with archeological research in the wider area of Alexandria, he was the
head of the Royal Agricultural Society, a member of the Geographical Society, the author of La geographie
de I'Egypte a I'epoque arabe, a multi-volume study on Egyptian geography in the Islamic period, a member
of the Arabic Academies of Cairo and Damascus, and a patron, like his mother before him, of the University of
Cairo, as well as a founding member of the Sporting Club of Alexandria. He served as president of the Coptic
Archaeological Society, although a Muslim, authored a monograph on the Coptic monasteries of Wadi Natrun
and, quite naturally, served as the honorary president of the Archaeological Society of Alexandria for more than
forty years until his death in 1944.

This short account is indicative of the importance of Prince OmarToussoun, not only for the history of Alexandrian
archeology, but also for modern Egypt in general, justifying the honor of having a gallery named after him in
the Graeco-Roman Museum (Figs. 2-4). His collection remains representative of a region which played quite

THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

an important role in Egyptian history, as it lies within the wider area of ancient Canopus. We wish, therefore, to
introduce this illustrated selective catalogue with an overview of the ancient history of the Canopic region, and
of the research accomplished during the time of Omar Toussoun by the Archeological Society and the Graeco-
Roman Museum. This preface will place the recent archaeological investigations of both the Italian and French
missions in a context, revealing important evidence in the areas in which Prince Omar Toussoun, one of the
pioneers of Alexandrian archeology, was among the first to investigate.

THE HISTORY AND ARCHEOLOGY
OF THE CANOPIC REGION

The city of Canopus was situated on the site of the present-day Abukir peninsula about 20 kilometers east
of Alexandria (Fig. 5).' It was the most important commercial center in the Egyptian Mediterranean before the
foundation of Alexandria due to its special geographical location at the mouth of the Canopic (western) branch
of the Nile —the only one that would allow large cargo ships from the Mediterranean to sail up the river to the
capital, Memphis. Naturally, the Greeks had intensive contacts with the city, which was further upgraded by the
foundation of their own port, Naucratis, which became part of this commercial network between Egypt and
Greece.

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explained (1800 and 1830)

1 The present village takes its name from the Christian sanctuary Abbakyr or Apakyr (Father Cyrus) and has grown into Abukir.

THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

Several ancient Greek sources as early as the beginning of the 6 th century BCE 2 mention Canopus, according
to which the name Canopus was related to Greek mythology, since Canopus, the helmsman of Menelaus, the
Homeric king of Sparta, died there bitten by a viper on the sands of Thonis, the port’s Egyptian name. The city
located close by was named after this unfortunate sailor: Canopus. 3

The port of Thonis itself was located at a distance from the sacred and domestic quarters, away from the
Mediterranean, on the inner side of one of the lagoons where the seawater mixed with the fresh water of the
Nile. There, Osiris, the Lord of Thonis, Isis, the Mistress of the Sea, Ammon Ghereb, and especially Khonsu, the child
divinity with healing powers that the Greeks identified with Heracles, were venerated. It was in honor of the latter
that the new port was later renamed Heracleion 4 by the Greeks as early as the 5 th century BCE, if not earlier.
Herodotus, the father of history, refers to a great temple that was built where the famous hero Heracles first set
foot in Egypt. He also reports the visit to Heracleion of Helen, the wife of King Menelaus, with her lover Paris before
the Trojan War. More than four centuries after Herodotus' visit to Egypt, the geographer Strabo observed that the
city of Heracleion, where the temple of Heracles was located, was directly to the east of Canopus at the mouth
of the Canopic branch of the River Nile. 5

Moreover, another toponym that is related to the Canopic region is Menouthis, mentioned in ancient sources
as early as the 2 nd century CE. Menouthis must have been situated between the cities of Canopus and Heracleion,
although it may very well have been just a suburban area, adjacent to the main city of Canopus. 6

Canopus reached its commercial peak during the last native dynasties, when all maritime traffic converged
on the Canopic mouth with the largest Egyptian customs station in the Mediterranean. 7 Although in the Hellenistic
period Canopus lost much of its importance due to the construction of Alexandria, Heracleion never ceased to
operate. At the time of Strabo it was again the largest commercial port in the region of Alexandria. In addition,
it became the perfect place for leisure for the Alexandrian aristocracy, whose members constructed villas with
pools and bath complexes as well as farms for the production of olive oil and wine. Such villas were mainly built

2 The oldest mention of Canopus can be found in a poem by Solon, from the first half of the 6 th century BCE.

3 The legend is mentioned in several ancient sources but is widely know from Pliny (Book V, Chapter XXXIV, 1). Other sources are the poet
Nicandros (2 nd century BCE) and Pomponius Mela (Book II, Chapter VII).

4 See Gallo, online article: ww.archaeogate.org/egittologia/article/53/9/abuqir-la-penisola-di-canopo-una-storia-di-acque-e-sabb.html.
(Last visit September 2012) endnotes 6-9.

5 XVII, 1,16

6 For an overview of the location of Menouthis see Toussoun, 1934.

7 This is indicated in the so-called Naucratis Stele, a decree dating to the reign of Nectanebo I, one of the last native pharaohs. See
Lie theim, 1976, 139-146.

THE CANOPIC REGION IN HISTORY

along the coast and the road connecting Canopus to Alexandria, leading to Alexandria's main artery, namely,
its west-east oriented thoroughfare, the Canopic Way, named after the city of Canopus. 8

Canopus remained one of the most important religious centers in Egypt throughout the Graeco-Roman
period. It was famous for healing, especially in its sanctuaries of Sarapis and Isis. The city possessed important state
sanctuaries dedicated to the royal family, such as the temple of Zephyrion, dedicated to Arsinoe-Aphrodite. 9
It was also in Canopus that the well known synod of Egyptian priests took place, during the reign of Ptolemy III
Euergetes. The conclusions of this council are mentioned in the so-called Canopus Decree, according to which
the young daughter of Euergetes and Berenice, who died in the ninth year of her father’s reign, was to be
deified. The decree itself was drawn up like the famous Rosetta Stone in three scripts: Greek, hieroglyphic and
Egyptian demotic. Copies were erected in the most important temples of Egypt.

The role of Canopus as a religious center was maintained in the Christian era also, due to the existence of
monasteries and pilgrimage centers. Patriarch Theophilus founded a monastery in the area of the Sarapeion, while
another one was set up at Menouthis on the site of the temple of Isis. Many people still adhered to the ancient
cults and longed for the prosperity which the miracles of Sarapis and Isis had brought to the town. Therefore, at
the beginning of the 5 th century, Patriarch Cyril decided to convey the body of St. Cyrus to Menouthis, together
with the relics of St. John who had been buried with St. Cyrus in St. Mark’s Martyrium in Alexandria, in order to
replace the old healing cult with a new one.

Meanwhile, Sarapis and Isis had not yet finally departed. Their worshippers went on holding gatherings at
Menouthis until the close of the 5 th century. 10 The town itself seems to have survived until the 8 th century CE, if not
later.

8 Breccia, 1926, 14, 35-37, 43-50, pi. VIII, IX and XII-XIV. The private temple of Ras el Soda, discovered by Adriani in the 1930s, must be
related to this kind of elite villas. For the temple of Ras el Soda see: Adriani, 1940, 136-148: Castiglione, 1968, 128, note 119: Quaegebeur,
1981, 131-143: Bianchi, 1988, 148-149, no. 136; 2007, 470-505; Grenier, 1990; Marcade, 1996, 98-99; Winand, 1998, 1079-1089; Etienne,
2001,95-100; Adembri and Mari, 2006, 10 and 12; Naerebout, 2007, 506-554; Benaissa, 2010, 67-76. Savvopoulos and Bianchi, 2012, no.48.

9 Ceccaldi, 1869, 268-272.

10 Breccia, 1922, 352.

THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

Archeological Investigations on Land

The early excavations of 19 th and 20 th centuries were made by amateur landowners in the area, enlightened
collectors and lovers of local history. This was the case of Daninos Pasha and Prince OmarToussoun, who owned

virtually all of the Abukir area. Nevertheless, the state
of the site in the modern period and the subsidence
of a large part of the ancient mainland was always a
discouraging factor. For instance, although Mahmoud
Bey el Falaki, astronomer, civil engineer and the
creator of the first archeological map of Alexandria,
visited the site, he only made a brief reference to
the visible remains without any will to excavate the
area."

In 1891, Daninos, an elite Greek Alexandrian and
owner of a villa near the village of Abukir, which later
became the Hotel Canopus, excavated the site of
Fort Tawfiq on the west coast of the peninsula, where
there were visible columns and large half-buried
granite statues, mingled with worked blocks, sand
and debris of various kinds (Figs. 6-10). Between 1892
and 1895, Daninos and Giuseppe Botti, first director
of the newly founded Graeco-Roman Museum of
Alexandria, brought to light the remains of a building
paved with white marble, probably a Greco-Roman
temple which during the Roman period was adorned
with large statues of pharaohs and priests transported
there from various sites of the Egyptian chora
(Figs. 11-12).

Fig. 6. Granite head of a Ptolemy wearing the nemes
headdress. Graeco-Roman Museum 3357

11 Falaki, 1872, 76-87.

Fig. 7. Granite head of a Ptolemy wearing the nemes
headdress and Pschent Crown. Graeco-Roman Museum 3364

Fig. 8. Granite statue of Isis or Ptolemaic queen dressed
as Isis with its portrait missing. Graeco-Roman Museum
344

Fig. 10. Granite headless statue of an Egyptian
priest. Graeco-Roman Museum 20724

Fig. 11, Headless granite statue of an Egyptian priest (?), Fig. 12. Statue of Ramses II of the so-called Asiatic type, usurped

holding a stele with an image of Horus. Graeco-Roman by Amenophis III. Graeco-Roman Museum 359

Museum 20723

THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

Fig. 13. Aerial photo of the square shaped building complex excavated by Daninos in
1917

Unfortunately, all this intensive investigation around Fort Tawfiq was summarily published in a short article of only
four pages without any accompanying illustrations. 12

In 1915, Evaristo Breccia, the successor of Botti in the directorship of the Graeco-Roman Museum, was able to
restart investigation in the area with the support of Prince Omar Toussoun, who meanwhile donated his impressive
collection, which consisted almost entirely of privately found antiquities on his property, to the Graeco-Roman
Museum. In parallel with the archeological investigation by Breccia, between 1916 and 1917 Daninos initiated
a new excavation to the east of the peninsula at Fort Ramleh, where he revealed a square building complex
(Fig. 13).

12 Daninos, 1892, 209-213.

ARCHEOLOGICAL INVESTIGATIONS ON LAND Catalogue

The results of the first years of excavations left Breccia disappointed, but he then focused on the
collection of Omar Toussoun. In 1926, Breccia published The Ruins and Monuments of Canopus. This
monograph was for more than seventy years the only scientific publication on the archeological
sites of Abukir, which today have been destroyed by modern constructions. Breccia argued for the
identification of the ruins on the west side of the peninsula around Fort Tawfiq as ancient Canopus,
since they were the only archeological site in the area large enough to be the ruins of a city (Fig. 14).

Fig. 14. Map of the archeological ruins in the Canopic region.
After Breccia, 1926.

Fig. 15. Map of the archeological ruins in the area identified as Sarapeion. After Breccia,
1926

Fig. 20. Part of a mosaic floor with geometric motif. Graeco-Roman Museum

UNDERWATER ARCHAEOLOGICAL INVESTIGATIONS

He suggested that the ruins of columns, mosaics, cisterns and other architectural elements belonged to the
local temple complex of Sarapis. He also claimed that the ruins of Fort Ramleh were the remains of the village
of Menouthis (Figs. 15-21). 13

Surprisingly, the most important discoveries of Breccia at Abukir came just after the publication of his
monograph, between 1926 and 1930, as a result of his excavations near Fort Tawfiq, which brought to light
the remains of a vast cemetery from the Roman era and impressive statues of gods and Ptolemaic pharaohs
(Figs. 22-23). 14

Underwater Archeological Investigations

Breccia seems to have paid less attention to the submerged archaeological site, which he identified as
being part of Menouthis rather than the city of Canopus, which he had already located on the opposite side
of the peninsula. However, Prince Omar Toussoun had a different opinion, being the first who investigated the
submerged area to the east and north of the present-day peninsula of Abukir in 1934 (Fig. 24) and continued
to do so until the early 1940s. His finds included the ruins of a temple 240 meters long, which he identified as the
temple of Isis in Menouthis, later converted into a Christian church. 15

This was the only underwater investigation in the area until the 1990s, almost 60 years later, when the Institut
Europeen d’ArcheologieSous-Marine (IEASM), led by Frank Goddio, reinitiated the investigation of the submerged
part of the Canopic region. 16

Two kilometers to the east of the modern port of Abukir, the IEASM have identified a zone that contains
numerous archaeological remains. This site consists of a narrow area of ruins 150 meters long, including shafts
of columns of red granite, limestone blocks and other architectural elements. The artifacts recovered include
jewels, crosses, coins and seals of the Byzantine period. To the north of these structures, the IEASM discovered
the foundations of a wall 103 meters long, which would have surrounded a temple. Worked blocks of granite
inscribed with hieroglyphs were found here as well. These proved to be additional parts of the Naos of the

13 Breccia, 1914, 1926, 14-16.

14 Breccia, 1932, 14-20, pi. M IX.

15 Toussoun, 1934, 344-346.

16 The Frank Goddio finds from the Canopic region are mainly published in: Goddio, 2004: 2007; 2009; Goddio and Clauss, 2006.

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Decades (SCA 161-164), parts of which had already been found underwater at this location by Prince Toussoun
in 1940, and then donated to the Graeco-Roman Museum (25774). Among the other fragments of statuary found
in this area were a diorite female head identified as Berenike II (SCA 204) (Fig. 25), and a remarkable marble
head of the god Sarapis (SCA 0169) (Fig. 26) of Roman date (2 nd century CE), both today in the Bibliotheca
Alexandrina Antiquities Museum.

Fig. 24. Map of the Canopic region and its submerged sites, after Omar Toussoun’s investigations. Toussoun, 1934, 344-346,
pi. VIII

Fig. 26. Marble head of Sarapis. (SCA 169). Bibliotheca
Alexandrina Antiquities Museum 0844.

Fig. 25. Diorite female head identified as Berenike II (SCA
204). Bibliotheca Alexandrina Antiquities Museum 0849.

UNDERWATER ARCHAEOLOGICAL INVESTIGATIONS

In addition, the IEASM investigated the area which lies about 6.5 kilometers off today’s coastline, suggested
to be the site of Heracleion-Thonis. 17 Investigations revealed important information on the city's landmarks such
as the harbors that once controlled all trade into Egypt and the grand temple of Ammon and Khonsu, including
the discovery of the a naos (SCA 0457) dedicated to Ammon of Ghereb. Also, the inscription on a gold plaque
(SCA 0876) states that Ptolemy III had founded (or renovated) in these places a sanctuary dedicated to Heracles,
the Greek counterpart of Khonsu, on this site. Another important discovery was an intact black granite stele
(SCA 0277), a true double of the so-called Stele of Naucratis, erected in the name of Pharaoh Nectanebo I
(30 th Dynasty), dating to 380-362 BCE.

Moreover, important Hellenistic monuments were included in the discoveries such as the three colossal
statues of pink granite more than five meters in height, representing a king (SCA 0279), a queen (SCA 0208), and
Hapi (SCA 0281), the god of the Nile’s fertility and abundance (Fig. 27). Also, the inscription on a huge bilingual
pink granite stele (SCA 529), dating from the reign of Ptolemy VIII, indicates that the sanctuary of Heracleion
remained important both for Egyptians and Greeks under the Ptolemies.

Archeological Investigation of the so-called Nelson’s Island

Last but not least, another important site is the so-called Nelson’s Island located offshore, four miles north
of the Cape of Abukir. Although today its length does not exceed four hundred meters, in antiquity the island
was larger, but geological phenomena and quarries have significantly reduced its area. British sailors gave the
island its present name after their famous victory in the bay under Admiral Lord Nelson against the French fleet.
The island’s position in antiquity, only two kilometers from the port of Heracleion, contributed to its strategic
role in the monitoring and reporting of maritime traffic around the mouth of Canopus. Since 1997, the Italian
Archaeological Mission in Alexandria (MAIA), under the direction of Professor Paolo Gallo, from the University of
Turin, has investigated the island.

Nelson’s Island is currently the only site in the Canopic region that demonstrates a clear succession in the
stages of habitation. Discoveries date from the last native dynasties until the first quarter of the 3 rd century BCE,
the period of transition. Then, the site seems to have been abandoned probably due to the founding of the new
port of Alexandria, which eclipsed the importance of this once strategic fortress island.

17 Goddio, 2006, 59-65.

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The whole surface of the island, despite its small size, is covered with ruins of tombs, a domestic area,
monumental buildings and three to four large water tanks, which filled up using a complicated system of collection
and channeling of rainwater (Fig. 28). Among others, the investigations have revealed the ruins of a massive
building, possibly a fortress, ideal to control and defend the maritime traffic of the port of Canopus, which was
situated just opposite the island. This is currently the only example of a fortification dating from the earliest part
of the Hellenistic period (late 4 th century BCE) discovered in Egypt. Also, in the domestic area a large quantity of
local and imported pottery was discovered in situ, dating also from the late 4 th century BCE, including ceramic
imports from Greece and Asia Minor, local production of Greek style pottery and Pharaonic pottery, dating from
the Late Period. Finally, tombs discovered on Nelson’s Island date from the last native dynasties until the late
4 th century/early 3 rd century BCE, including an underground tomb complex with a Greek style triclinium chamber,
a loculi chamber with mummies dating from the 30 th Dynasty or slightly later, ushabties, scarabs, and so on.

CATALOGUE

THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

1. (18370) Head of Queen Arsinoe II (?), deified

Basalt
H.0.175m
Ptolemaic Period

The head is preserved from about the level of the Adam’s apple to the top of the modius placed upon the
crown of the head which originally secured an attribute placed into the circular mortise in its top. Her coiffure,
best observed from profile is arranged as a double tier of so-called Isis locks, with ringlets falling onto the forehead.
The hair is held in place by a narrow diadem fronted by two cobras: the double uraeus. The physiognomic
features of the face are idealizing. The round eyes, with their incised lids, are set in sockets which form the brow
in a spade configuration coalescing into the thin bridge of the nose, with its flaring nostrils. The short mouth is
vertically aligned, with thin lips.

Most commentators have suggested that this head shares stylistic features with a draped female statue
in New York, inscribed, perhaps at a later date, on one shoulder with the cartouche of a Cleopatra, and that
they must be contemporary. The statue in New York bears a triple uraeus, which some suggest is the exclusive
insignia of Cleopatra VII. Accepting this view precludes identifying the head in Alexandria as an image of that
queen because it features a double, not a triple uraeus. Nevertheless, both heads are so stylistically congruent
that a dating within the 1 st century BCE for both seems assured. Although there is no academic consensus about
the significance of the double or the triple uraeus, the suggestion that the head in Alexandria represents a
posthumous image of Queen Arsinoe II Philadelphus, known to be depicted with a double uraeus, has merit.

The shared characteristics of both of these heads deviate from the accepted stylistic criteria attributed to
the 1 st century BCE. The width of the diadems on both heads is narrow, which calls into question the generally
held opinion that diadems became much wider during the later Ptolemaic period. Secondly, the physiognomic
features of both heads include relatively small eyes, not the wide open pie-eyes that generally characterize
Ptolemaic sculpture in the 1 st century BCE. Finally, the physiognomies of both are not characterized by a frown,
which some would insist is a hallmark of works created in that century. It is for these reasons that a stylistic analysis
alone is woefully inadequate for adducing chronological indices.

Breccia, 1926, 60-61, pi. XXVIII, 2; Kyrieleis, 1975, 118; Ashton, 2001,116-117, no. 66; 2011,28-30; Walker and Higgs, 2001,154 and
166, no. 165; Albersmeier, 2002, 286, no. 11; Bianchi, 2003, 13-23; 2007b, 470-505; Awad and Escoffey, 2008, no. 2.

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2. (18377) Sarcophagus Lid with Headless Reclining Statue of
a Noble Woman

Marble

L. 0.80 x W. 0.30 m
Roman Period

This marble statue, preserved from the level of the calves to the neck, represents a mature woman, reclining
on her left side as if on a kline at a banquet. She is wearing a chiton over which is draped a mantle. She holds
a floral bouquet, consisting mostly of poppies, in her left hand. The statue served as the lid of a sarcophagus.
The practice of interring the deceased within a sarcophagus gained currency in the Roman period in around
100 CE when inhumation became the preferred burial custom. The sarcophagus, consisting of a box to receive
the body and a lid, is of a basic design, pioneered by the Egyptians and later adopted by the Greeks. Roman
ateliers developed several distinctive types of sarcophagi, one of which featured the deceased, either alone
or with a conjugal partner, reclining, as here. Whether the Roman type derived from earlier Etruscan examples
remains moot, but sarcophagi with lids depicting the deceased reclining on a kline were extremely popular,
particularly in the East, as examples from Palmyra demonstrate.

There are several similar examples of funerary sculpture which served as lids of sarcophagi in the collections
of the Graeco-Roman Museum. The first is a complete sarcophagus with a single female figure reclining on its
lid, today exhibited in the National Museum of Alexandria without an inventory number; the second features a
headless woman at whose feet appears a coiled serpent (23919),' and the third, complete, is of an older man
(3897).

Breccia, 1926, 65; Adriani, 1961, Vol. II, pi. 51-104, no. 73-229, pi. 97, no. 207; Awad and Escoffey, 2008, no. 13. Compare the
sarcophagus lid in the National Museum of Alexandria, Mahmoud, 1995, 412-4; 23929 and 3897, in Riad et al., (n.d.), 120 and
122 .

1 All inventory numbers in the catalogue's descriptive text refer to pieces of the Graeco-Roman Museum, unless the acronym of another
Museum is included.

THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

3. (18378) Headless Draped Statuette of Hermes

Marble

H. 0.80 xW. 0.30 m
Ptolemaic Period

This statue depicts the god Hermes in one of his most ancient representations, named a herm in its honor,
which originally depicted that god as a head attached to the top of a pillar. Although not a major god of the
Classical pantheon, Hermes was, nevertheless, extremely popular among the ancients because of his essentially
kind, accessible nature. Consequently, such herms were extremely popular in Athens of the 5 th century BCE
where they could be seen everywhere in large numbers. This type of statue continued to be created and was
subsequently employed for depictions other than that of Hermes. It was, for example, used for royal images
of the Ptolemies created during the Hellenistic period. There are at least three similar herms in the collections
of this museum: the first is another example of Hermes, likewise missing its head (19045), the second is a more
complete example of a youth, identified as Pan, with its head preserved (26043) and the third also from Canopus
(18378a).

This particular herm is preserved as two large fragments joined break to break at about the level of the
navel. It rises from a tapering pilaster, the bottom of which flares out and rests on a restored profiled base. The
composition is missing its head, left arm, and a part of its proper right side. The figure is enveloped in a finely woven
garment, perhaps more likely to be identified as a mantle rather than as a chlamys because of its volume, which
clings tightly to the body revealing its shape beneath. The garment also envelops both of the figure’s arms.

The evanescent corpulence exhibited by the body revealed beneath the mantle inclines one to identify the
figure as Hermes and recalls his association with young men, particularly in their participation in the Hermaea, a
festival celebrated by young boys in that god’s honor. One may, therefore, cautiously suggest that this herm of
the god Hermes was erected in a gymnasium or palestra, for which see no. 38 (18755).

Breccia, 1926, 66, no. 47, pi. XXXIII, 6; Adriani, 1961, Vol. II, 32, no. 21, pi. 51, fig. 73, pi. 66, fig. 207, pi. 104, fig. 229; Awad and
Escoffey, 2008, no. 14. Compare, 18378a in Breccia, 1926, 66, no. 48, pi. XXXIII, fig. 3; 19405 and 26043, in Adriani, 1961, nos. 124
and 125 respectively; Dresden ZV 2600/A 129, in Laube, 2012, nos. 152 and 153.

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4. (18397) Plaque Serving as a Fountain Spout

Marble

L. 0.31 x W. 0.28 m
Debatable date

This almost square object is adorned with a theatrical mask, recalling those encountered on numerous small
mosaic glass plaques. The design of the theatrical mask is rectilinear, virtually following the perimeter of the
marble slab into which it is sculpted. The face is dominated by its almond-shaped eyes and a disproportionally
large oval mouth, which appears to have been subsequently enlarged to judge by its very rough edges. There is
only a faint suggestion of the nose.

The design of this plaque does not conform to the designs of fountain spouts from the Classical period,
because it is flat, rather than three-dimensional. Furthermore, the mouth is not designed with any projections
permitting the easy evacuation of water, which would have simply dripped down the vertical plane of the
object. The expected projection, either in the form of exaggerated lips or a projecting tongue, would have
caused the water to cascade away from the vertical plane.

These anomalies call the authenticity of this plaque into question. Its design superficially resembles the so-
called eye stelae, characteristic of one type of South Arabian grave monuments, although the treatment of
the coiffure on this plaque finds no parallel within that corpus. One wonders, therefore, whether this object is a
completely modern imitation, loosely based on South Arabian models with Alexandrian mosaic glass overtones,
which was subsequently re-worked to suggest a Classical waterspout by enlarging the mouth.

Breccia, 1926, 66, no. 52, pi. XXXIII, 4; Seipel, 1998, 331-332; Awad and Escoffey, 2008, no. 33; Mahnke, 2008.

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5. (18418) Female Head

Limestone coated with stucco,
with faint traces of polychrome
H. 0.33 m
Ptolemaic Period

This limestone head was originally coated with a thin layer of stucco, the thickness of which can be gauged
in its photo documentation. The stucco was apparently heavily painted, according to the traces of paint
which were still visible when the head was published in 1926. One may tentatively suggest that the use of a
stucco coating the limestone, which was sculpted to completion, may have served as a mordant to which
the polychrome could adhere better. Such a technique (compare, no. 6, 18488, the head of Silenus) may be
indebted to Pharaonic practices because it is exhibited by the bust of Ankhaef in Boston (Museum of Fine Arts
27.442) as well as by the famous bust of Nefertiti in Berlin (Egyptian Museum and Papyrus Collection 21300). The
use of stucco places this head within the artistic tradition of Alexandrian ateliers, the sculptors of which habitually
employed that material to complete marble statues. Its use on this limestone head invites comparison with the
head of a youth discovered at Hawara by Petrie and which is now in Copenhagen (Ny Carlsberg Glyptotek AEIN
1386), which was anciently damaged and restored in plaster.

The visage has suffered additional damage to the nose, which is almost completely missing, and to the chin.
Despite such irreparable damage, one can still identify the sitter as a young woman, the musculature of her
neck emphasizing the sharp turn of the head to the proper right, which compares favorably with the design of
other Hellenistic portraits from Alexandria (3241 and 3908). The neck, in keeping with one stylistic characteristic
of Ptolemaic royal portraits, is relatively long, articulated with subtle rings of Venus, and exhibits a pronounced
Adam’s apple.

The idealizing physiognomy is classicizing in the extreme, with the finely lidded, almond-shaped eyes set into
relatively deep sockets, the arches of which coalesce into the bridge of the nose in the characteristic spade
configuration. Naso-labial furrows descend from the wide nostrils and frame a curved mouth, the lower lip of
which is thicker than the upper, and which is separated from the wide, projecting chin by a subtle depression.

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The thick, curly hair has been coiffed into horizontal waves, parted in the center, and collected at the nape
of the neck. It exhibits long, cork-screw locks over the ears, recalling the coiffures current in Hellenistic Alexandria
such as in the case of 3275 from the same museum. The hair is adorned with a circular element, relatively thick
in cross section, which has been incorrectly identified as a headless serpent. The plastically conceived ivy leaves
which ornament that element clearly indicate that it is a floral crown. This crown appears to anticipate those
encountered on cartonnage mummy portraits of the Roman period, as exemplified by examples from Meir, such
as that in New York (Metropolitan Museum of Art 19.2.6).

The style of this head and its technique suggest a date within the Ptolemaic period. The absence of royal
insignia precludes identifying this image as a Ptolemaic royal, but the sitter may have been a devotee of the cult
of Dionysos as the ivy leaves on the thick, floral crown suggest.

Breccia, 1926, 61, no. 17, pi. XXVIII, 1 and 3; Smith, 1960, 38-9; Tkaczow, 1993, 424; Walker, 2000, 129-131, no. 84; Wildung and
Zorn, 2006, cover and 72-4; Awad and Escoffey, 2008, no. 54 (the inventory number 18418 is here incorrectly given to a column
capital); Bagh, 2011, 118, 3.48; For 3241,3275 and 3908, Savvopoulos and Bianchi, 2012, nos. 3, 8 and 22, respectively.

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6. (18488) Head of Silenus

Limestone, coated with painted stucco
H. 0.14 x W. 0.12 m
Roman Period

This fragmentary head depicts a corpulent, older male whose physiognomic features include wide open,
heavily lidded eyes set into sockets beneath a deeply furrowed brow. Its wide-bridged nose has broad nostrils. Its
thick-lipped mouth is open, the upper lip shaped into a Cupid’s bow by a curly mustache which complements
its full beard. The hair on his balding head is ornamented with ivy leaves, one of which appears alongside the
large, goat-shaped left ear. The head is, therefore, to be identified as a representation of a silene, or an older
satyr, one of the woodland creatures populating the Greek imagination. Regarded as somewhat uncouth when
compared to human beings, but possessed of greater wisdom, Silenus was the tutor of Dionysos. Shepherds in the
poetry of Vergil (Eel. 6) force a silene to reveal a song of great beauty and wisdom. The resemblance of Socrates
to these woodland creatures was so well known that Alcibiades famously compared him to the musical satyr
Marsyas, as recounted by Plato (Symp. 215).

The relatively small size of the head suggests that it was used as an architectural adjunct decorating either
a public building, such as the like-faced telamon at the Odeon in Pompeii, or perhaps a private villa, such
as those decorating the Pompeian House of the Great Fountain or the House of Neptune and Amphitrite at
Herculaneum.

Breccia, 1926, 66, nos. 49-50, pi. XXXIV, 1 and 4; Maiuri, 1977, 43-44; La Rocca et al., 1981, 155-8; Awad and Escoffey, 2008,
no. 124.

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7. (18489) Fragment of an Aedicula with a Caryatid and a
Bearded Male Figure

Limestone
H. 0.25 m
Roman Period

The preserved fragment belongs to the top part of a rectangular panel designed as an aedicula, or shrine,
which may have served as the cover slab of a loculus.

The damaged upper edge preserves two diagonally incised lines which form the raking sima of its triangular
pediment. Below in relief is the projecting geison of the cornice, supported by the one preserved caryatid
standing on the rectangular capital of a pier. The caryatid is dressed in a chiton, fastened at the shoulders but
without being formed into sleeves, which clings to the body. The right hand, bent at the elbow, holds a tapering
attribute, while the raised left hand steadies a kalathos, or basket in which grain is measured, which supports the
geison. The head of the caryatid is turned toward the principal figure, the large head and one shoulder of which
are preserved in bold relief within a circular niche.

The head of the larger figure is shown in three-quarter view, turned to the left and downcast, and is reminiscent
of theatrical masks in the treatment of the long locks of hair which fall to the shoulders and, like the full beard,
are deeply drilled. Its large eyes, with their recessed pupils, stare out from beneath a wide, horizontally furrowed
brow, and frame the wide nose above a partly open mouth with fleshy lips.

The iconography appears to indiscriminately combine disparate motifs suggesting that the attribute carried
by the caryatid may be a torch, a symbol of death because its flame is being extinguished as its top is pushed
into the ground. The kalathos resonates with funerary associations as well because of its allusions to wheat. The
female figure may, therefore, be a reference to Demeter/Persephone whose role in the funerary art of Roman
Alexandria is well attested. The identification of the principal figure is moot, but the downcast turn of the head of
this mature, seemingly robust male reminds one of copies of the Farnese Hercules, whose securing of the Apples
of the Hesperides ensured his immortality.

Breccia, 1926, 62, pi. XXX, 5; Pensabene, 1983, no. 3; Awad and Escoffey, 2008, no. 125.

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8. (18499) Portrait of a Young Female

Marble
H. 0.28 m
Roman Period

The idealizing features of this egg-shaped head which tapers toward the chin are subtly rendered. The wide
open eyes, their upper lids accentuated, rest in fairly deep sockets. The thin bridge of the nose ends in wide wings
with prominent nostrils over a horizontal mouth featuring thin lips.

The coiffure is skillfully executed in several concentric circles of small, tight curls which follow the contour of
the skull. A fringe of snail-shell curls falls across the forehead, with a single, long, cork-screw lock falling at each
side of the back of the head behind the ear toward the shoulder.

More attention should be paid to this head because its coiffure is a perfectly rendered three dimensional
example of a hair style frequently featured on painted Faiyum portraits of young women, as seen on an example
in London (University College 19611) and particularly on a second in Cleveland (The Cleveland Museum of Art
71.137).

Breccia, 1926, no. 20; Doxiades, 1995, 68 and 201-202, no. 52 and 55; Awad and Escoffey, 2008, no. 135.

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9. 18505 Portrait of a Ptolemy

Light brown quartzite
H. 0.44 m
Ptolemaic Period

This damaged, colossal head depicts a pharaoh in a nemes headdress. Its salient physiognomic features
are the almond-shaped eyes set into relatively deep sockets within a face modeled in broad planes. The loss
of almost all of the other details of the face, such as the ears, nose, mouth and chin preclude a more detailed
analysis.

The nemes headdress is fronted by a serpent, the tail of which is designed in a figure 8 and the head of which
rests on a band. Such a configuration of the serpent's body is encountered throughout the course of the Late
Period and is, consequently, of little value as a chronological index. Furthermore, the width of the damaged
serpent’s head appears to be wide enough to insure its identification as a cobra, the sacred uraeus. On balance,
one is, therefore, inclined to date this head to the Ptolemaic period.

Breccia, 1926, 58-9, no. 8, pi. XXI, 2 (on the right); Awad and Escoffey, 2008, no. 141.

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10. (18511) Head of a Pharaoh

Granite

H. 0.25x0.20 m
Ptolemaic Period

It is unfortunate that this significant image of an Egyptian pharaoh has not received wider attention. It depicts
an Egyptian pharaoh wearing the so-called Blue Crown or Crown of Action, emblazoned with a double uraeus.
This form of the uraeus, or sacred cobra, is not an assured indicator for establishing chronology because it features
on royal images throughout the Late Period. It is not, therefore, as some have suggested, specific to either an
individual pharaoh or a particular dynasty.

The ears are disproportionately large in relationship to the face, but such disparity is generally regarded as
symbolic, imbuing the image with enhanced aural capacities by which it might metaphorically listen better to
entreaties addressed to it.

The importance of this head resides in its style which combines subtle hints of introspection within an idealizing
schema. The face is modeled in broad planes and exhibits a naturalistic brow beneath which are set thinly
rimmed, almond-shaped eyes. The thin bridge of the nose widens into the large wings of prominent nostrils,
beneath which is a relatively wide mouth with pencil-thin lips designed as a concave crescent. The design of
the head, therefore, represents one approach to ancient Egyptian images whereby an idealizing representation
may be transformed into a non-idealizing depiction by the manipulation of certain features, in this case, the
design of the mouth. This head recalls a second representing a corpulent pharaoh in a non-idealizing idiom
wearing the same crown with the same double figure 8 uraeus, from East Canopus Bibliotheca Alexandrina
Antiquities Museum 852 = SCA 168). The style of both is a non-idealizing variation of the same theme, each
perhaps representing Ptolemaic rulers rather than native Egyptian pharaohs.

Breccia, 1926, 59, no. 9; Awad and Escoffey, 2008, no. 147. Compare, Bibliotheca Alexandrina Antiquities Museum 852 (=
SCA 168), in Goddio and Clauss, 2006, no. 4.

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11. (18513) FRAGMENT OF A PILASTER

Marble

H. 0.40x0.30 m
Early Byzantine Period

This architectural fragment, which would have been surmounted by a capital, as seen, for example, in the
more complete pilasters from Bawit (Musee du Louvre E 16963) and Saqqara, once adorned an early Christian
church, as the presence of the circled Greek cross in the center of the top profiled molding indicates.

Its decorative scheme is that of a bi-laterally symmetrical Corinthian capital, framed at the top by a molding,
and at each side by a vertical fascia. Its center is designed as an abstracted acanthus plant, with one half of the
same plant to its left and right. Four volutes rise in confronted pairs from two stems, but the leaves and caulicoli
are not articulated. There is a five-lobed element beneath the two middle volutes, which may have served either
to replace the expected rosette or more probably be interpreted as a bunch of grapes, alluding to wine and
the Christian communion.

The style of the relief combines an inherent plasticity, evident in the hollowed grooves which characterize the
leaves, with a linearity, exhibited by the stems and volutes. The entire design is flat, and rather two-dimensional,
creating a lace-like decorative effect across the surface of the worked block. In this respect, the style approximates
that exhibited by a capital from Medinet Habu, the decoration of which appears to combine similar plastic with
linear elements (The Egyptian Museum CG7356).

Strzygowski, 1904, 80- 81, pi. IV; Breccia, 1926, 57, pi. XXIII, 1; Badawy, 1978, 198 and 200-201, fig. 3.163, 3.168 and 3.169; Awad
and Escoffey, 2008, no. 149.

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12. (18530) Statue Base Decorated with a Reclining Female

Marble

H. 0.30x0.155 m
Ptolemaic Period

The preserved part of the feet on the top of fhis object suggests that it served as a statue base on
which originally stood a figure, which was perhaps female to judge from the preserved feet. Breccia's
opinion that the relief in the rectangle on the front indicates the condition of that statue's original
base is intriguing inasmuch as such decorated statue bases are extremely rare, but are attested from
both the Archaic and Hellenistic Periods, as two such bases in Athens reveal. The first, dated to the
Archaic period was found in a Themistoclean Wall in Kerameikos (Athens, National Archaeological
Museum 3476), the second, attributed to Praxiteles of the 4 th century BCE was discovered at Mantinea
in Arcadia (Athens, National Archaeological Museum 215-217).

If the original statue was removed to transform the base into a suitable cube of stone on which
the figure in relief was subsequently sculpted, one would expect the feet to have been completely
removed. Consequently, the suggestion that the original statue was female gains support from the
presence of an assuredly female figure, sculpted in relief within the recessed rectangle on the front
of the base proper. That figure reclines on her right side on a cushioned, high backed kline-like sofa.
Her right arm is bent at the elbow and raised so that the hand supports her head. Her long hair is
bound with a thin fillet, which may have supported an attribute, too imperfectly preserved to hazard
identification.

It is futile to try to identify these two imperfectly preserved figures, although the suggestion that they
are both goddesses is cogent. The style of the reclining female figure appears to resemble the style of
those on the Archelaos Relief in London (British Museum 2191), which suggests it is to be dated to the
Hellenistic Period.

Breccia, 1926, 64, no. 34, pi. XXXI, 7; Karusu, 1969, 33-34 and 171-172, pi. 16; Smith, 1991, p. 187, fig. 216; Awad and Escoffey,
2008, no. 166.

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13. (18531) Funerary Relief of a Youth Drowned at Sea

Limestone
H. 1.30xW. 0.53 m
Roman Period

This L-shaped object is sculpted from a single block of limestone with the image of a semi-draped youth in high
relief. He is depicted standing in the contrapposto position, with his head, the features of which are obliterated,
turned to the left and slightly raised. His mantle, which is draped over his right shoulder and arm, passes around
his back and is wrapped around his thighs where its edge is held in place by his left hand. His right hand holds a
steering oar parallel to his body.

Breccia, on the basis of the steering oar, identified the object as the funerary monument of a sailor, although
it may also have been of a youth who drowned at sea. Such identification appears preferable to regarding
the stela as a votive offering to the Dioscouri, who could be represented singly, because the figure lacks the
characteristic cap worn as their emblem. Although ostensibly indebted to Attic grave stelae, the design, style
and execution of this limestone monument resonate with characteristics associated with the so-called Behnasa
funerary reliefs with which it must be contemporary (Rijksmuseum van Oudheden F 1972/8.1).

Breccia, 1926, 64, no. 36, pi. XXIX, 7; Awad and Escoffey, 2008, no. 167. Compare, Rijksmuseum van Oudheden F 1972/8.1, in
Schneider, 1982, 39-43, no. 35.

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14. (18536) Head of a Male

Basalt
H. 0.25 m
Ptolemaic Period

This head represents a young man, whose expressive physiognomic features are rendered as a series of subtly
merging planes faintly articulated with linear adjuncts as seen in the delicate naso-labial furrows. His wide open,
almond-shaped eyes are heavily lidded; his nose features wide wings; and his horizontally aligned mouth exhibits
thin lips, the upper designed as a Cupid’s bow. Part of the surface of the face partially bears abrasions. The beard
and mustache appear with the whiskers as thin wisps of hair. This same treatment of the beard and mustache is
observed on a head in Munich (Glyptothek 30) and on the so-called Caesar Barracco (Museo Barracco 31).

The coiffure is arranged as a series of raised snail-shell motifs ringing the forehead, with similar but less plastically
designed curls ornamenting the surface of the skull. The figure wears a diadem ornamented with abstracted,
globular forms which are to be understood as stylized floral buds. The relatively large ears lie flat against the
head, the back of which exhibits the damaged remains of a back pillar, seemingly with a rounded top, which
reaches to the occipital bulge and overlaps the lower part of the diadem.

Although the broad planes of the skin of the face have a uniform final polishing, other areas do not, particularly
where those planes intersect raised surfaces, such as at the eye lids, the ears, and particularly along the hair line
across the forehead. The surface of curls as well as the diadem exhibit these same rough surfaces. The heads in
Munich and Rome also exhibit this bi-chromatic effect of light and dark surfaces caused by the differences in
polish applied to the same areas. This bi-chromatic effect appears to be a constant for works of art created in
Egypt during the course of the 1 st century BCE and would appear to continue into the 1 st century CE.

Diadems, designed as abstracted, stylized floral elements which are anchored around the head at the
occipital bulge, are not infrequent on Egyptian monuments created during the Hellenistic (Ptolemaic) Period.
The diadem on a head in Amsterdam (Allard Pierson Museum 7871) is perhaps closest to that on this head in

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Alexandria, and is reflected in a somewhat more stylized rendering of the same floral elements on a head in
Stuttgart (Wurttembergisches Landesmuseum 1.12). Despite their ubiquity, there is academic consensus neither
about the identification nor the significance of such floral attributes.

Breccia, 1905, 115-116, fig. 42; 1926, 60, no. 14, pi. XXV, 5 (Breccia's reference is incorrect, it should read plate XXVI, 5);
Bothmer, et al., 1960, 172; Lembke, 1998, 111, note 13; Grimm, 2000; Verhoeven, 2005, no. 169; Awad and Escoffey, 2008, no.
162; Fittschen, 2011,256, no. 4.3.

Right photo: 18536 (left) among other pieces of the Omar Toussoun Collection, during the process of photographing, in the
lab of the Graeco-Roman Museum.

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15. (18540) Architectural Adjunct Featuring a Human Head

Marble

H. 0.10 xW. 0.20 m
Roman Period

The front of this object features a human face with almond-shaped eyes, with plastically rendered pupils and
upper lids more clearly defined than the lower. The bridge of the nose ends in relatively wide wings above a
mouth, the thick lips of which are drawn up at the their ends into a faint smile. The relatively large ears protrude
slightly from the sides of the head. Two cylindrically-shaped, spiraled locks of hair are clearly visible over the
left ear. These are too indistinct to assure a positive identification of the figure, although, according to some,
the spiraled curls are perhaps evocative of serpents, suggesting that the figure is Medusa. This interpretation,
although not assured, is tempting because the object does appear to have served as an architectural adjunct,
for which Medusa would be an appropriate subject.

Breccia, 1926, 66, no. 51, pi. XXXIV, 3; Awad and Escoffey, 2008, no. 176.

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16. (18562) KEY

Bronze
L. 0.033 m
Byzantine Period

This L-shaped object with a suspension ring on the bottom of its longer side is perhaps to be identified as a key,
the bit of which appears to have broken off the short side which exhibits jagged top and bottom surfaces.

Keys were used in Egypt as early as the late New Kingdom, as keys from the artisans’ village at Deir el-
Medineh attest. Their depiction becomes more frequent from the 2 nd century CE, when keys are associated with
Anubis, who employed them symbolically to unlock the doors that separate this world from the next. Moreover,
a papyrus document from the Roman Period records an order for a key to be made, and its cost.

On the basis of one parallel cast in iron, one can tentatively suggest that this object, if correctly identified as
a key, is from the Byzantine Period (The Egyptian Museum CG 9197).

Strzygowski, 1904, 311, pi. XXVI; Grenier, 1977; Anagnostou, 1981, 157-165; Bingen ef a/., 1992, 168, no. 178; Awad and Escoffey,
2008, no. 198.

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17. (18571) Headless Torso of Male Figure (Eros?)

Marble
H. 0.125 m
Roman Period

Missing its head, its arms from just above the elbows, and legs from just above the knees, the nude youth
appears to have been designed moving towards the right with his hands raised in the air. The statuette as
preserved seems to have been reused as building material, cut down to resemble a rectangular block of stone.
There is another similar example of spolium in Alexandria (26036) and a somewhat similar third example in Dresden
(ZV 2600/A42) the back of which exhibits two mortises to which wings were presumably affixed. All three appear
to have been designed as free standing, compositions which may have served either a decorative or votive
function.

Breccia, 1926, 66, no. 44, pi. XXXII, 7; Awad and Escoffey, 2008, no. 207. Compare, 26036, Adriani, 1961, no. 115, fig. 201;
Dresden (ZV 2600/A42), in Laube, 2012, no. 143.

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18. (18572) Statue of Harpocrates

Marble
H. 0.21 m
Roman Period

The figure represents a nude, corpulent infant in an asymmetrical squatting position in which the left leg is
bent at the knee and raised vertically to the chest in order to support the left arm, the elbow of which rests on the
knee, and the hand of which is open with the index finger placed on the lips. In the iconography of Pharaonic
Egypt this gesture symbolizes childhood. In the Roman Period, this gesture, when encountered on images of
Harpocrates, was regarded as a gesture of silence indicating that the child will not reveal cultic mysteries to the
profane. The asymmetrical squatting pose was the typical way to depict children during the Classical Period. It
is encountered in images of temple boys and continued to be used for depictions of children in Coptic funerary
reliefs of the Roman Period (Aegyptische Staatssammlung 4860).

The child’s horizontal right leg, also bent at the knee, is placed in front of the body, the ankle and sole of the
foot resting near the figure’s genitalia. The right hand, resting on the calf of the right leg, holds an indeterminate
attribute suggested to represent a flower or fruit, recalling similar attributes held by children on the Benhasa reliefs.
Such an attribute is imminently appropriate for Harpocrates because of the floral associations with his mother,
Isis. The child’s round, fleshy face features a side Lock of Youth over the left ear. Whether this lock was ritually
cut off in a rite of passage in analogy with the rite of circumcision is highly speculative and does not appear to
characterize the Isiac cults practiced during the Roman Period. The entire composition rests on an integral, thin
plinth, the proper left side of which is missing.

The corpulent infant-like body, the gesture of the left index finger and the side lock are unmistakable indices
that this figure is Harpocrates, the child god. The design of such marble statues may have been the source of
inspiration for artisans working in both terracotta and bronze, although on a smaller scale, in which media one
finds stylistically similar images. This suggestion warrants further research into such artistic interaction because
the terracotta images appear to have been produced in the chora, rather than in a metropolitan workshop in

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which such marble sculpture must have been created. Nevertheless, all of these figures attest to the continuing
popularity of the child god. This particular marble statue may have been erected as a votive offering in a private
property such as a villa.

Breccia, 1926, 63-4, no. 33; Gonzenbach, 1957; Adriani, 1961, Vol. II, 40, no. 153, pi. 51-104, fig. 73-229; Du Bourguet, 1967, 95-96,
fig. 24; Ballet, 1995, 259-64; Karageorghios, 2000, 230-231; Compare with the so-called Mehamara collection in Savvopoulos
and Bianchi, 2012, 148-159.

Right photo: The statue of Harpocrates (18572) among other pieces of the Omar Toussoun Collection, during the
process of photographing, in the Graeco-Roman Museum.

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19. (18573) Head with a Phrygian Cap

Marble
H. 0.185 m
Roman Period

The head is preserved from about the level of the Adam’s apple to the middle of the hat. The small, almond-
shaped eyes with their articulated upper lids are set into fairly deep sockets. A small mouth, with horizontally
aligned lips, is featured beneath a small bridged nose. The coiffure is parted in the center over the forehead into
an anastole with a series of curly locks, framing the face and arranged as if radiating from the skull.

The Phrygian cap of the figure serves as an attribute of several mythological figures including Penthesileia,
Mithras and Attis. The anastole appears to be gender specific which would exclude identifying the figure as
female. According to the empathetic theory, the facial expression of this head is soft, languid and moribund
suggesting that it is an image of Attis, the consort of Cybele, the Anatolian Magna Mater. However, such an
argument might also be invoked to identify the figure as Mithras or even Ganymedes. In the final analysis, the
identification remains moot because there is no compelling evidence in the head as preserved to assure a positive
identification, particularly since the Phrygian cap is also worn by other complete images whose identification
cannot be firmly established.

Breccia, 1926, 62-3, no. 26, pi. XXIX, 5; Awad and Escoffey, 2008, no. 209. Compare, Cairo, The Egyptian Museum CG 7260 and
CG 7265, in Strzygowski, 1904, 10-11 and 13-14.

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20. (18638) Harpocrates Riding on a Horse

Terracotta
H. 0.15 m
Roman Period

Most of the Classical terracotta statuettes which entered the collection of Prince Toussoun have no
ascertainable archeological context, a situation which also relates to the majority of similar terracottas in public
collections worldwide. Such terracottas were cast, for the most part, in two-piece molds, which accounts for their
pronounced frontality. After firing, they received a white wash and were then painted, but those additions are
fugitive and rarely well-preserved. The clay used in these examples is somewhat coarse in texture and not finely
levigated, suggesting that the workshops in which they were created were located in the chora rather than in a
metropolitan atelier such as one might find in Alexandria.

Found in tombs, temples and towns, such terracotta statuettes may have been used as objects of devotion,
perhaps as votive offerings. They do not appear to have had a purely decorative function. Their interpretation is
difficult to adduce, but consensus suggests that they represent protection in all of its varied meanings.

One is struck by how the same subject is repeatedly reproduced, which accounts for why scholars group
similar types in their catalogues. These subjects seem to have been extremely conservative in design which
appears to have changed very little over time. Some suggest that their production was well underway during the
early decades of the 2 nd century CE and that it may have ceased in the 4 th century CE.

This composition features a child god, his well-coiffed hair framed by an exceptionally wide floral crown
surmounted by a miniature pschent, the Double Crown of Upper and Lower Egypt. He is mounted on a prancing
horse with one foreleg raised in the air, its tail falling vertically to the ground suggested by the object’s integral
base. The design conforms to that of several others in which the child god holds a tambourine in one hand. In this
example, the musical instrument appears to simply rest on the haunches of the child's mount.

Awad and Escoffey, 2008, no. 274. Compare, Musee du Louvre E 584 and AF 1272, in Dunand, nos. 165 and 168.

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21. (18642) Reclining figure of Harpocrates with Urn

Terracotta
H. 0.16 m
Roman Period

Ostensibly cast in a two-piece mold with a concentration on frontality, this statuette was, like others, originally
white washed and painted, but due to the fugitive nature of those two materials, added after the object was
fired, there are now few traces left of their original presence.

The composition, of which there are numerous variations (Musee du Louvre AF 7495) incorporating an integral
base, depicts a child god sitting in an asymmetrical pose with one bent leg, pulled up toward the chest, while
the other, likewise bent, lies on the ground and is pulled back behind the raised leg. A large, round vessel serves
as a support on which he rests one arm while the other is raised with its index finger resting on the mouth in the
traditional Pharaonic gesture for representing children. The child wears a long tunic. His head is encircled by a
wide floral crown, resembling a wreath, which is held together in its center by a wide ribbon, centered over the
middle of his forehead, while a side Lock of Youth falls behind one ear. A miniature pschent, or Pharaonic Double
Crown, flanked on either side by a single lotus bud, completes his costume.

The polyvalent characteristic and penchant for syncretism of ancient religions during the Roman Period
render the exact interpretation of such figures moot. Such child gods, traditionally identified as Harpocrates, the
son of Isis and Osiris, often incorporated aspects of the cults of Triptolemos and Eros into their character, while the
pschent alludes to Pharaonic, royal power, but like other attributes indebted to Pharaonic Egyptian norms, it has
been reduced in size and deformed, in keeping with the artistic tenets by which these figures were designed.
In the Roman period the index finger held to the lips was regarded as a gesture of secrecy, while the lotus buds
alluded to resurrection (compare, no. 40, 18759).

The vessel is perhaps key to the meaning of this statuette. Its presence is suggested to have appealed to a
particular clientele, who, as devotees of Isiac cults would regard the pot as containing athera, a kind of Egyptian
nourishment for infants. The vessel might simultaneously allude to the fertile waters of the Nile. In both cases, such
figures connote powers of protection and nurturing of newborn babies and infants.

Dunand, 1990, 63- 70, no. 108; Malaise, 1991,219-232; 2000, 401-431; Awad and Escoffey, 2008, no. 278.

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22. (18692) Head of Aphrodite Anadyomene

Limestone
H. 0.02 m
Roman Period

This miniature head, preserved from the neck to the top of the hair, is turned to the proper right on its vertical
axis. The physiognomic features of the face are designed in a bland, idealizing idiom in which all of the features
from the eyes to the mouth are proportionally small and delicate. The most salient feature of the head is its
coiffure, parted in the center and gathered in two enormous tresses, one on each side of the head. The coiffure
allows the identification of this image as Aphrodite Anadyomene. She is usually represented rising from the sea
foam, wringing her wet hair, in a pose which can be seen in any number of copies. Each of those copies is
indebted to the iconic representation of Aphrodite Anadyomene in a lost painting by Apelles. Pliny the Elder
(NH 35, 79) claims that the model for Aphrodite Andyomene was Campaspe, a mistress of Alexander the Great,
whereas Athenaeos (Dein XIII) asserts that the model was the famous courtesan Phryne, who during the festivals
of Eleusinia and Poseidonia often swam naked in the sea. Whoever the model may have been, the fame of
the Aphrodite Anadyomene by Apelles rivaled that of the Aphrodite of Cnidus, sculpted by his contemporary
Praxiteles.

The popularity of this type of sculpture in Alexandria, where there were numerous very close parallels, is well
attested. Representations of Aphrodite were extremely popular in Roman Egypt, where they were often included
as part of a bride's trousseau.

Awad and Escoffey, 2008, no. 328. Compare, Laube, 2012, nos. 67-79.

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23. (18693) Statue of Osiris Hydreios

Limestone
H. 0.13 m
Roman Period

This object is a vase resting on a wreath, its pseudo-lid in the form of a head wearing a nemes headdress
to which appears to have been affixed an unknown attribute. The base of the vase is decorated with a pair of
deities facing each other, the deployed wings of which frame a winged scarab emerging from what appears to
be a stylized horizon. A pectoral adorns the ‘chest’ of the vase.

The object undoubtedly belongs the most enigmatic category of cultic objects ever created as Romano-
Egyptian religious expressions. Their design is based upon traditional ancient Egyptian Canopic jars into which
several of the soft internal organs of the deceased were placed. However, every known example of Osiris Hydreios
was created during the Roman Period, not earlier, when the practice of manufacturing Canopic jars for funereal
purposes had long since ceased.

Canopic jars can be divided into two broad types, one wearing an atef crown, attested on numismatic
images from the reigns of Domitian to Antoninus Pius, and the other wearing plumes, attested from the reigns of
Galba to Gallienus. The ornamentation of each type was never repeated because no two examples ever exhibit
the same decoration.

It had long been assumed that one type was to be associated with the goddess Isis and the other with her
brother-husband Osiris, but several scholars have rejected this because both types may or may not be bearded.
Whether such an attribute was truly gender specific is now being questioned inasmuch as scholars are now
recognizing an androgynous ambiguity in Romano-Egyptian representations of Isis. The consensus omnium at
the present time suggests that these vessels, which were never intended to serve as lidded containers since they
were never hollow, are associated with water as a source of life after death. Within this context such vessels
provided the faithful with a means to conquer death. They might also serve as cult vases dedicated to Osiris to
be carried in processions with veiled hands, or as one of the forms in which the deity could be worshipped.

Breccia, 1926, 63, no. 32, pi. XXIX, 8; Awad and Escoffey, 2008, no. 329; Savvopoulos and Bianchi, 2012, 166-8, nos. 48D-48E.

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24. (18694) Portrait of a Ptolemaic Queen (?)

Marble
H. 0.055 m
Ptolemaic Period

The damaged physiognomic features of this small head include a relatively small mouth with horizontally
aligned lips approximately the same width as the wings of the nose above it, and relatively small eyes set in deep
sockets. Its gender is female to judge from the coiffure which has suffered less damage than the physiognomic
features of the face. That coiffure is parted in the center so that the hairline forms a triangular forehead. The hair
is then combed back along the sides of the head in parallel, horizontal rows of curls, which envelop the ears.
This type of coiffure was common during the Hellenistic Period and continued well into the Roman Period. It is,
therefore, of little value as an independent chronological indicator. However, when the features are taken into
consideration with the coiffure, one can suggest that this head may be a portrait of a Ptolemaic queen. The
damaged coiffure and facial features recall those of two other portrait heads in Alexandria, which are suggested
to represent Berenike II (22199 and 18703). Consequently, this head should be assigned to the same period.

Kyrieleis, 1975, 94-102, nos. K2 and K3; Awad and Escoffey, 2008, no. 330.

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25. (18695) Head of a Queen or Goddess (?)

Marble
H. 0.052 m
Ptolemaic Period

This image is preserved from about the level of the Adam’s apple to the top of the head, with the wings of
its nose and part of the chin missing and its left cheek abraded. The physiognomic features include almond-
shaped eyes set in relatively deep sockets, and a small mouth with horizontally aligned lips, the same width as
the nose. The most unusual feature of the head is its coiffure, which is parted in the center and styled in such
a way that it appears to rest on the skull cap-like, its undulating, tightly wrapped curls arranged rhythmically.
As such, the coiffure appears to have no ready parallel in any Hellenistic coiffure attested from the Ptolemaic
Period. The suggestion that the artist, who was trained in a Greek atelier to judge from the style and physiognomy
of the face, was attempting to Egyptianize a Greek coiffure may be worthy of consideration, but upon closer
examination the treatment of the coiffure appears to be a tighter, more compact version of the so-called melon
coiffure, as comparison with hair styles on some contemporary female terracotta statuettes shows. This kind of
coiffure was intended to imbue the figure with overtones of fecundity and sensuality, associated with the seeds
of the fruit upon which this particular fashion was based.

Awad and Escoffey, 2008, no. 331. Compare Breccia, 1930, pi. XII, 6, 8, and 9 and pi. XIII, fig. 5.

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26. (18697) A Female Head

Limestone
H. 0.060 m
Hellenistic Period

This small cordiform head has a thin, rather disproportionately long neck. Its physiognomy is characterized by
pronounced cheekbones, summarily rendered eyes set into fairly deep sockets, a triangularly shaped nose, and
a smiling mouth with drilled corners. The hair is coiffed in a series of neat parallel curls which cover the ears. It is
covered with an elaborate headdress, the layered appearance of which suggests it was wrapped, turban-like,
around the head.

Although there are no readily identifiable parallels for the headdress, its complex design is compatible with
the various fashions exhibited by Alexandrian terracotta figurines.

Awad and Escoffey, 2008, no. 333. Compare, Tezgor, 2007, pi. 6e, 20d, 22a-b, passim.

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27. (18698) Statuette Head of a Young Male

Marble
H. 0.06 m
Roman Period

This small head appears to represent a child, according to its puerile physiognomic features which include
wide open, plastically rendered eyes, a rather large nose, and a horizontal mouth set into the corpulent face
creating an engaging, youthful smirk, and hair raised on the left which finds its parallel in a similarly small head
(Dresden ZV 2600/A 51).

Its small size suggests that it represents Eros or Cupid, whose image may have accompanied that of an
Aphrodite/Venus created during the Roman Period.

Breccia, 1926, 63, no. 32, pi. XXIX, 8; Awad and Escoffey, 2008, no. 334. Compare, Dresden ZV 2600/A 51, in Laube, 2012, 269,
142.

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28. (18699) Head of a Ptolemaic Queen or Aphrodite

Marble
H. 0.245 m
Ptolemaic Period

Although damaged, the sensuous quality of this female head is convincingly rendered by the corpulence
achieved by the subtle merging of plastically modeled planes. Her wide open eyes are placed in relatively deep
sockets, framing a nose with broad nostrils. Her mouth is small with horizontal lips, the fleshier upper lip designed as
a Cupid’s bow. One can suggest that the hair was probably parted in the center and combed back along the
sides of the head in delicately sculpted parallel, horizontal rows, which reveal only the ear lobes.

Whether the figure is to be identified as Aphrodite or a Hellenistic queen is moot. Both identifications are
possible. The coiffure in association with the relatively small mouth are characteristics suggesting a date within
the first half of the Hellenistic Period. It may be associated with images identified as Berenike II such as 3908 from
Alexandria.

Breccia, 1926, no. 19, pi. XXVIII, 4; Awad and Escoffey, 2008, no. 335. Compare, Kyrieleis, 1975, nos. K2 and K3; also 3908, in
Adriani, 1946, 34; Kyrieleis, 1975, no. L5; Queyrel in La Gloire, 1998, no. 53; Ashton and Seif el-Din in Walker and Higgs, 2001, no.
54; Savvopoulos and Bianchi 2012, no. 22

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29. (18700) STATUE OF MENELAUS OR ACHILLES (?)

Marble
H. 0.19 m

Roman Period (Copy of a Ptolemaic original)

This male torso, preserved from the base of the neck to just above the navel, is finely modeled with particular
attention paid to the tripartition of the chest and the neck muscles. The figure’s accessories include a broad
belt, worn diagonally across the chest so that the scabbard holding the sword, the pommel of which is clearly
preserved, rests on the left hip. A chlamys is draped over the left shoulder and acts as an artistic foil against which
the muscular forms of the body are presented to great visual advantage.

The presence of the sword precludes identifying this figure as a ruler because heroic nude images of such
individuals, often so draped, are generally represented without any weapon whatsoever. The identification of
the figure as a warrior can likewise be excluded because the sword is sheathed. On balance, the figure should
be identified as a mythological hero.

Two such identifications spring to mind, both featuring a heroic, often semi-draped nude with a sheathed
sword. The first is the figure of Menelaus in the Pasquino group where he supports the fallen Patroclus. This group,
of which there are at least nine copies, is so named after the replica standing in front of Rome’s Palazzo Braschi,
to which lampoons, or pasquilli, were attached in the 16 th century. The thick sternocleidomastoid muscle on the
proper left side of the neck suggests a turn of the head in keeping with the attitude of the head of Menelaus in
the copies, which also depict him as a semi-nude. Alternatively, the figure may represent Achilles who formed
part of a second, compositionally similar group in which he is shown supporting the fallen Penthesilea, although,
admittedly, he is not always semi-draped in copies of that famous group.

While not an accurate copy of either Menelaus or Achilles, this torso resonates with characteristics shared by
both, and must therefore represent one of these two heroes. Roman ateliers worked for clients commissioning
copies of Greek masterpieces and often modified the originals in such a way that the resulting creations exhibited
departures from the model.

Breccia, 1926, 65-6, pi. XXXIII, no. 5; Bieber, 1961, 78-80, fig. 272-3 and 278-280; Awad and Escoffey, 2008, no. 336.

100

101

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30. (18701) Bust of Sarapis

Alabaster
H. 0.15 m
Roman Period

This small, somewhat effaced bust depicts the god Sarapis as an avuncular Olympian with a thick mustache,
full beard and abundant long, curly hair with a fringe covering his forehead. His identification is assured by the
presence of the kalathos, or grain measure, on his head, but that attribute, summarily rendered and lacking
ornamentation, uncharacteristically exhibits a wide brim. He is wearing a chiton and mantle, in keeping with the
fashion of the times.

This image is one of several which were extremely popular in the Roman Period and which doubtless served
in private shrines dedicated to this deity.

Breccia, 1926, no. 27, pi. XXIX, 3; Adriani, 1961, II, no. 185, pi. 85, 286; Awad and Escoffey, 2008, no. 337.

102

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31. (18703) Portrait of a Ptolemaic Queen

Marble
H. 0.22 m
Ptolemaic Period

This head seemingly shares stylistic characteristics with the head identified as either a Hellenistic queen or
Aphrodite (18699), but there are significant differences. The eyes are set in somewhat deeper sockets imbuing
this head with Scopasian overtones which are also evident in the prominence given to the play of light and
shade across the modeled planes of the face. The hair is less carefully executed with the individual strands not as
articulated. The wider mouth, with somewhat fuller lips, has drilled corners. These characteristics seem to resonate
with those encountered in two heads from Alexandria in the same museum (3369 and 3238) and suggest that this
head represents a Ptolemaic queen from the second half of the dynasty.

Breccia, 1926, no. 18, pi. XXVIII, 8; Kyrieleis, 1975, nos. L7 and L9; Awad and Escoffey, 2008, no. 339; Laube, 2012, no. 97.

104

ara

THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

32. (18704) Head of a Mature God, Poseidon or Zeus

Alabaster
H. 0.18 m
Roman Period

Preserved from about the level of the Adam’s apple to the top of the head, this carefully executed image
depicts an avuncular member of the Classical pantheon with a thick mustache, a full beard, and head full of
luxuriant, long curly hair which is secured with a fillet. The round eyes are set in narrow sockets. The nose is relatively
small as is the mouth, with thick horizontally aligned lips. The mouth is approximately the same width as the nose.
There are no preserved attributes which suggest the definite identification of the god. Although identified as an
image of Sarapis, the fillet is not one of his traditional attributes and the manner in which the hair and beard are
styled do not correspond to those encountered on any image unequivocally identified as that god. The deity
represented is consequently to be identified as either Poseidon or Zeus, and appears to be a Roman copy of an
earlier Hellenistic work.

Breccia, 1926, no. 29, pi. XXIX, 2; Adriani, 1961, no. 165, pi. 79, 262; Awad and Escoffey, 2008, 340.

106

107

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33. (18706) Fragmentary Votive Relief with a Serpent

White marble
H. 0.21 cm
Roman Period

The fragment represents the greater part of the left portion of a votive relief. The single image is that of a
serpent, perhaps originally bearded on the basis of parallels, and the head of which is adorned with a miniature
pschent, or Double Crown. The body consists of a series of intertwined coils. On the basis of parallels one can
deduce that the missing right half of this relief bore a corresponding image of a second serpent.

There is a tendency to identify the preserved serpent as Agathos Daimon, the good spirit, who was regarded
as the protective sacred snake of Alexandria and who, according to later legends, led Alexander to the Siwa
Oasis. Over time, he was conflated with Sarapis, and during the Roman Period was often depicted in serpent
form and paired with Isis as a cobra, suggested to be the missing half of this votive relief. The serpent is shown
wearing the Double Crown as a symbol of his universal power.

Breccia, 1926, 66-67, no. 55 and pi. XXXIV, 8; Awad and Escoffey, 2008, 342. Compare, Fondation Gandur pour I'Art/Geneve
ARCH-EG-245: Bianchi, Alexandrie la divine, in press.

108

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34. (18727a) Fragment of a Statue of Heracles

White marble
H. 0.10 m
Roman Period

This small fragment has been identified as an image of Heracles on the basis of the clearly visible lion skin,
which appears to have been draped over his left arm. The lion skin became the hero’s principal attribute after
he defeated the Nemean lion in the first of his tasks. According to the legend, the skin of the Nemean lion could
not be penetrated by any weapon, so the beast was strangled to death. Heraclles wore the skin as his emblem,
but it may also have served as symbolic armor for the hero.

There is not enough of the composition preserved to determine the original appearance of the
statue, although several scholars, in examining the images of Heracles preserved in the collections of this
museum, conclude that many are indebted to an original attributed to Lysippos. Others suggest that by the
2 nd century BCE the images of that hero were both novel and eclectic, but inspired by Scopasian models. The
popularity of this Greek hero in Egypt may be ascribed to the assimilation of his characteristics by deities of the
Pharaonic pantheon.

Breccia, 1926, 63, no. 31a, pi. XXXII, fig. 3; Uhlenbrock, 1986; Nauerth, 1989; el Atta, 1992, 27-39; For the relation of Heracles
with Lysippian models, Cassimatis, 2002, 541-564; For the relation of Heracles with Scopasian models, Clerc, 1994, 97-138; Abd
el-Fattah and Queyrel, 2002, 323.

110

THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

35. (18729) Fragmentary Head of a Pharaoh

Limestone
H. 0.14 m
Modern imitation

This fragment represents a human face with a disproportionately large nose and eyes, of which the irises are
plastically designed as raised discs with pupils as raised dots. The head, to which this face belonged, appears
to have been wearing a nemes headdress to judge from the wide band that covers most of the forehead and
extends down to just above the plastically rendered eyebrows. That headdress was ornamented with a uraeus,
or sacred cobra, the tail of which is arranged high up on the head in a figure-8.

There are no ready parallels for the style of this fragment, the seemingly maladroit execution of which suggests
it is a modern imitation.

Awad and Escoffey, 2008, no. 365.

112

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36. (18736) Rhyton or Drinking Cup in the Form of a Dolphin

Limestone
H. 0.15 m
Ptolemaic Period

This remarkable fragment finds its closest parallels in other rhyta created in Hellenistic Alexandria in faience. The
parallel with those smaller creations is even more remarkable when one examines the ornamentation preserved
on the horn of this example. These take the form of dotted rosettes, which were part of the ornamental repertoire
associated with Alexandrian faience vessels of all types.

Large, stone ornamental rhyta are not unknown within the repertoire of Hellenistic sculpture, but are rare.
A noteworthy, complete parallel associated with Neo-Attic workshops is found in the collections of the Museo
Capitolino, Rome. The impetus for such monumental rhyta, however, is almost certainly the Ptolemaic court in
Egypt, as reflected in the descriptions of such over-sized vessels used in the Pompe of Ptolemy II Philadelphus.

The imaginative shape of this ornamental drinking horn which incorporates a dolphin, a popular motif in
Hellenistic Alexandrian art, and Alexandrian dotted rosettes, almost certainly assures its dating to the Ptolemaic
Period. As such, this fascinating object provides yet another window into just how imaginative and innovative
Alexandrian art of the Hellenistic Period really was. These rhyta ought to be considered in association with similar
objects, identified as military horns, most of which were crafted in terracotta and are likewise dated to the
Hellenistic Period.

Nenna and Seif el-Din, 2000, 110, figs. 5a-5c and 245-248; Awad and Escoffey, 2008, no. 372; Bailey, 2008, 89. Compare,
Rhyton in the Capitoline Museum, Rome, in Bieber, 1961, 182-183, fig. 792; Rhyta used in the Pompe of Ptolemy II Philadelphus,
in Rice, 1983, 63 and 202-20.

114

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37. (18753) Fragment of a Canteen with Relief Decoration

Pottery terracotta
H. 0.11 m
Roman Period

This sherd appears to have come from the bottom section of a so-called canteen, which would have
exhibited a round body. The figural scene is framed by a chevron pattern and a dotted zone within which the
figures, facing pairs of various kinds of animals, for the most part float without reference to a ground line. Here
and there are scattered floral forms suggesting a landscape, whereas the top exhibits a two-tiered horizontal
base supporting a vertical, janiform column which can be restored as being part of an arched arcade within
which were probably busts.

The round shape of the canteen’s body is dependent upon models first developed during the Egyptian
New Kingdom and which continued to be in vogue until the Byzantine Period, as the shape of the so-called
ampullae of Saint Menas so amply demonstrate. There are several parallels for such relief decorated canteens
the preserved examples of which have been associated with Christian subjects suggested to date to the
4 th century.

Awad and Escoffey, 2008, no. 388. Compare, Cairo, The Egyptian Museum JE 89081 and JE 54502, in Grimm and Johannes,
1975, nos. 76-77.

116

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THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

38. (18755) Lamp

Terracotta
H. 0.12 m
Roman Period

Cast in a two-piece mold with an emphasis on frontality, and originally white washed and painted, this lamp
was designed with two spouts for wicks: one on each side of the integral base. The lamp depicts the fagade
of a building, identified as a palestra, perhaps associated with a gymnasium. The stoa-like structure exhibits six
Corinthian columns. Two of its intercolumniations are adorned with small, round shields, and a third displays a
suspended sack, suggested to be a punch bag used in training for the pancratium, an ancient type of boxing.
The foreground is occupied by four figures. The largest, to the right, may be identified as a paedotribe, or school
master, depicted with receding hair and a beard, and wielding a switch in his raised hand with which he beats a
disobedient student. Two more classmates appear to the left. It is uncertain whether this subject matter is a genre
scene or a satire. Such architectural settings are frequently encountered on terracotta lamps of the Roman
Period.

The central intercolumniation is adorned with a profiled herm of Hermes. This lends support to the suggestion
that the herm of Hermes in the collections of Prince Toussoun (no. 3, 18378) may well have decorated a similar
building in such an institution.

Breccia, 1930, 73, no. 469, pi. XLIII, 3; Empereur, 1995, 22, fig. 32. Compare, Fjeldhagen, 1995, no. 79.

118

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39. (18758) Grotesque Head

Terracotta
H. 0.04 m
Roman Period

This small head represents an aged figure with caricatured physiognomic features. The face is characterized
by ungainly wrinkles and an asymmetrical mouth imbuing the figure with an unpleasant countenance. It is framed
by long hair on which has been placed a thick, undecorated floral wreath. It is difficult to determine the gender
of the figure because both male and female figures can be represented in this manner, and wearing similar floral
wreaths.

The meaning of such figures is a matter of much scholarly debate. In the Greco-Roman world, deities could
favor the disabled and deformed by endowing them with special skills or powers. As a result, the deformed
and disabled were often thought of as possessing special abilities, one of which was sexual potency, to judge
from the numerous vignettes from the Hellenistic and Roman Periods in which dwarves are habitually engaged
in sexual activities. It is within this context that such figures are to be broadly understood, because the ancient
concept of sexuality symbolically encompassed a number of themes from the carnal to material prosperity.

Himmelmann, 1983; Awad and Escoffey, 2008, no. 394; Garland, 2010. Compare, Cornelia and von Grumbkow, 1991,
1989.1238 (66, fig. 55), identified as Bes and Beset, and 1989.1266 (84, fig. 99), identified as an eroticon with a couple in an
amorous embrace.

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THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

40. (18759) Statuette Group with Two Infant Gods
and an Elephant

Terracotta
H. 0.135 m
Roman Period

Ostensibly cast in a double mold with an emphasis on frontality and preserved traces of polychromy, this
complex group includes an elephant which appears to be trampling underfoot the floral motifs depicted on the
integral plinth. The elephant is tame, to judge from the large caparison which covers its back and trails along
the ground. Its headless mount, appears to be a child god, with one hand touching the animal’s neck, the other
holding a circular object, perhaps to be identified as a shield. A second child god sits on the ground directly
in front of the elephant’s tusk and trunk, but he is not menaced. On the contrary, he seems to be offering the
elephant some of the contents of the pot in front of him. His hair is adorned with ribbons and ornamented with
two lotus buds.

The polyvalent characteristic of ancient religions during the Roman Period with their penchant for syncretism
renders the exact interpretation of such group compositions moot. Moreover, the elephant is one of many
animals associated with the child god in terracotta statuettes created during the Roman Period, as are both
the lotus bud and pot (compare, no. 21, 18642). Nevertheless, the richly covered elephant, accompanied by
two child gods, one of whom the hair is adorned with lotus buds, and offers it nourishment, may well symbolize
abundance and prosperity.

Breccia, 1930, 74-5, no. 483, pi. XUI, fig. 3; Malaise, 1991, 219-232; Empereur, 1995, 21, fig. 21; Awad and Escoffey, 2008,
no. 395.

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THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

41. (18789) An Oil Lamp with a Bust of Sarapis

Terracotta
H. 0.095 m.

Debatable date

This oil lamp with a round nozzle is missing its handle. Its outer frame features two floral ornamental bands, one
stippled, the other in the form of two ribbons in a twisted pattern, perhaps recalling the framing element of an oil
lamp found in Rome (Cologne 2742). The inner frame consists of a pair of sqares, the outer arranged in a diamond
shape, the inner as a square within which is a bust of Sarapis, identifiable by the kalathos, or grain measure, on his
head. The bottom of the lamp is inscribed in Greek with two incomprehensible words: XPHC/MOX

The otherwise careful design and execution of the lamp is at variance with the rather crude filling hole to the
right of the head of Sarapis. This disparity taken into consideration with the enigmatic Greek inscription cautions
one against blindly accepting the authenticity of this object. If ancient, it would represent a luxurious product,
consistent with the imperatives of the Roman cult of Sarapis which demanded spectacularly designed lamps for
its rituals.

Awad and Escoffey, 2008, no. 425. For Cologne Wo. 2742, in Ristow, 1969, no. 15. For Sarapis ritual lamps, compare, Maxfield,
1995, 21.

124

THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

42. (19889) Head of a Divinity Wearing the Phrygian Cap

Basalt
H. 0.16 m
Roman Period

This aesthetically accomplished head represents an athletic, clean-shaven adult male with a full head of
thick, luxuriant hair coiffed into spiraling curls on top. His only attribute is a Phrygian cap, identifiable by its tapering
conical shape, the top of which exhibits two folds. The physiognomic features of this head are more expressive
than the features of no. 19 (18573) and are accentuated by the turn of the head to one side. Because the
Phrygian cap is its only attribute, as was the case with 18573, it is difficult to suggest a positive identification. In
addition to Attis or Mithras, the head might equally represent Paris, Orpheus or even Ganymede.

The expressive quality of the face and the use of basalt characterize one aspect of the sculptural production
of the Roman Period, when colored stone in general was widely exploited for its decorative, polychromatic
effects. The presence of this head in the collections of Prince OmarToussoun raises additional questions. Does it
represent an import from abroad, or was Egypt in general, and Alexandria in particular, a center for the creation
of works in basalt, which seem to have been highly prized by Roman collectors and connoisseurs?

Belli Pasqua, 1995, 106-7, no. 65; Awad and Escoffey, 2008, no. 459. Compare, Mielsch, 1985; Ambrogi, 1995.

126

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43. (25774) Fragment of the Naos of the Decades

Granite

H. 1.30 xW. 0.87 xD. 0.78 m

Dynasty XXX, Reign of Nectanebo I (380-362 BCE)

This small chapel represents an architectural puzzle, the pieces of which were recovered over the course of
two centuries. The first piece, which entered the collections of the Musee du Louvre in Paris in 1817, was actually
discovered in Abukir Bay in 1777. About a century and a half later, Prince Omar Toussoun discovered its base and
rear wall during his underwater explorations of Abukir. In 1999, Franck Goddio, director of the Institut europeen
d’archeologie sous-marine, brought to light four more fragments of this remarkable monument, recovered from
the waters of Abukir Bay not very far away from the spot where the prince found his fragments. Franck Goddio
was then able to obtain casts of all of these fragments which enabled him to reconstruct the chapel as part of
the special traveling exhibition, Egypt’s Sunken Treasures.

The chapel is called the Naos of the Decades because its figural decoration and hieroglyphic texts deal
with the Egyptian calendar which is divided into 36 ten-day periods, each called a decade. These are defined
by the appearance and disappearance of certain stars termed decans which were visible in the night sky over
Egypt. The texts describe the influence that each star was believed to possess over nature, animals and humans,
both communally and individually. More specifically, the Naos of the Decades is dedicated to the god Shu. It is
a unique monument insofar as it represents a collection of original texts associated with the figural decoration of
its outside walls. The figural decoration is contained within frames, each representing one of the decades of the
Egyptian year. Each of these frames in turn exhibits five vignettes, inscribed with a short ‘astrological’ comment,
which is different for each decade. They summon a ‘great god’ to destroy enemy populations. Taken together,
these texts form one of the Books of Shu, who entrusted Sekhmet to create a list of those enemies which she and
her troop would then eliminate.

Although the exact place of the Naos of the Decades within the corpus of ancient Egyptian astrology is a
matter of academic debate, its contents concern entire populations while its vignettes and their accompanying
inscriptions deal with individual destiny. These seem to link divine judgment and thus the future of one’s ka (living

128

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THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

spirit) to the position of the stars in the sky. Consequently, the Naos of the Decades either reflects or precedes
astrological systems that foretell the future by means of the changing position of the planets, the sun and the
decans on an hourly basis.

Habachi and Habachi, 1952,251-263; Goddio and Clauss, 2006,48-53,31 and 34; Awad and Escoffey, 2008, no. 465; Bomhard,
2008.

Right photo: The fragments of the Naos together as exhibited in F. Goddio’s exhibition Egypt' s Sunken
Treassures.

130

MMMlMN

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N THE GRAECO-ROMAN MUSEUM

44. Inscriptions

The collection of Prince Omar Toussoun contains several inscriptions which were recovered at Canopus.
Because these have not received the attention devoted to other Classical texts from Alexandria, we are presenting
them here as a group for ready reference, arranged according to their inventory numbers in accordance with
the order used elsewhere in this volume for the architectural fragments.

44a. (18400) Inscribed base

Marble

H.0.79x W. 0.43 m
Roman Period

MAPKOC AYPHAIOC
AOHNOAQPOC ME
TATQN IAIQN
ANECHKEN
EriArACQ

[Dedication by] Marcus Aurelius Athinodorus together with his relatives for (their own) good

Breccia, 1906,146; 1914, 79; 1926, 55, no. 14, pi. XIX, 7; Awad and Escoffey, 2008, no. 36.

132

L . j

^ " __ /

MAPK0CAYPHAIOC
A0HMOAUPOC M£
TATWNJAIWN
AN60HK6N

CO ATA0A

After Breccia, 1926

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44b. (18401) A Dedicatory Inscription to Sarapis, Ptolemy III and
Berenike II

Nummulitic limestone
H. 0.21 x W. 0.34 m
Hellenistic Period

lAPAniAl KAI HIM
KAI BAXIAEI nTOAEMAIQI
KAI BAXIAIXXHI BEPENIKHI
©EOIX EYEPEfETAlX

To Sarapis and Isis as well as to King Ptolemy and Queen Berenike, the Theoi Euergetai

The inscription can be dated to the reign of Ptolemy III Euergetes I, and by means of the parallel paired
names, suggests an association of Ptolemy III with Sarapis and of Berenike II with Isis. Although the topography
of Canopus is imperfectly understood, the association of the monarchs with those two deities suggests a
geographical proximity of their respective cult centers in that place. One assumes, therefore, that this plaque
was dedicated in the vicinity of a temple of Sarapis and that that temple was close to a temple dedicated to
the Theoi Euergetai, if one's understanding of the Greek text of line 9 of the Canopus Decree is correct:

EN TQ KANQnQ IEPQ TON EYEPTETQN OEQN
In the temple of the Theoi Euergetai at Canopus...

Reinach, 1908, 210; Breccia, 1911,8, no. 15, pi. IV, 13; Awad and Escoffey, 2008, no. 37

134

v . J ‘iK.V' :

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'TjB 4-

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THE OMAR TOUSSOUN COLLECTION

N THE GRAECO-ROMAN MUSEUM

44c. (18402) A Dedicatory Inscription to Sarapis, Nilus,
Ptolemy III Euergetes and Berenike II

Nummulitic limestone
H. 0.17 xW. 0.33 m
Hellenistic Period

ZAPAniAl KAI IXIAI KAI NEIAQI
KAI BAXIAEI nTOAEMAIQI
KAI BAXIAIXXHI BEPENIKHI
APTEMIAQPOX AnOAAQNlOY
BAPfYAIQTHX

[Dedication by] Artemidoros, the son of Apollonios, in the month of Barguliotes to Sarapis, Isis and the Nile
[as well as] to King Ptolemy and Queen Berenike.

The inscription can be dated to the reign of Ptolemy III and Berenike II, and like 44b (18401) attests to a temple
to Sarapis in which Isis and the personified River Nile were temple sharing deities (Theoi Synnaoi). The principal
interest of this inscription appears to be that the personified Nile was the object of a cult.

Breccia, 1926, 52, no. 4, pi. XVIII, 2; Awad and Escoffey, 2008, no. 38.

136

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THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

44d. (18403) A Dedicatory Inscription to Sarapis, Ptolemy II and
Arsinoe

Nummulitic limestone
H. 0.21 x W. 0.39 m
Hellenistic Period

YI1EP BAIIAEQI nTOAEMAlOY
KAI BAIIAIIIHZ APIINOHI
TO IEPON IIEI ANOYBEI KAAAIKPATHI
BOIIKOY IAMIOI NAYAPXQN
EAQKEN nAZITH IEPEI

On behalf of King Ptolemy and Queen / the Sanctuary of Isis and Anubis/Kallikrates, a Samian admiral, son
of Boiskos, donated to all (their) sanctuaries.

Breccia suggests that the Arsinoe named in the inscription is Arsinoe I, the first wife of Ptolemy II Philadelphus.
One notes that Isis is here paired with Anubis and not with Osiris, who is passed over in silence.

Breccia, 1911,3, no. 5, pi. IV, 12; Awad and Escoffey, 2008, no. 39.

138

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44e. (18405) Fragment of Column with a Dedication to Sarapis

Blue marble
H. 0.365 m
Roman Period

[M]EI"AAQ CAPAniAl

[-] KAI APENHIMI

[-] AYMOY EYCEBEIAC XAPIN

[ANE] ©HKEN ErWA[0Q]

[To] Great Sarapis, [...] and Arenhimi dedicated for (their own) good

Breccia, 1926, 54-55, no. 13, pi. XIX, 8; Awad and Escoffey, 2008, no. 41.

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N THE GRAECO-ROMAN MUSEUM

44F. (18406) Votive Base Dedicated in the Name of Three Gods

Granite

H.0.45x W. 0.365 m
Roman Period

All HAIQ ME-
TAAQ CEPAniAl
Em TH BA0PA
YilEP EYXAPI-
CTIA IEPAE

ANE0HKEN EnATAOQ
L (ETOYI) A’ TON KYPIQN OIAAIIIQN
CEBASTQN MEXEIP A’

Hierax, on [this] base, dedicated [this monument] to Zeus Helios Great Sara pis for the common good in
Year4 of the Lords Philips Augusti, the Respectable Ones, [in the month of] Meheir, the first...

Breccia, 1911, 60-1, no. 87 pi. XXII, 56; 1926, p. 53, 8, pi. XIX, 2; Awad and Escoffey, 2008, no. 42.

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45. Architectural Column Capitals From Canopus

The collection of Prince Omar Toussoun contains several column capitals, mainly variations of the Corinthian
order. These shed light on one aspect of Alexandrian Classical architecture of the Roman Period. The following
comments are provisional because the closing of the Graeco-Roman Museum and removal to remote storage
of these capitals, as well as the majority of the objects housed in that institution, have prevented their detailed
examination. We wish to make their existence known to a wider audience, by briefly discussing each in the
sequential order of their inventory numbers in the Graeco-Roman Museum.

45a. (18420) A Figural Capital

Limestone
H. 0.26 xW. 0.58 m
Roman Period

Although this capital has been repeatedly published, its fragmentary state and removal to storage preclude
an exacting description of its ornamentation, which has been described as a winged sun disc. If this description
prevails, this fragment would suggest that at least one building in Canopus was designed in an Egyptianizing
architectural order.

Breccia, 1926, 66, no, 53, pi. XXXIV, 5; Ronczewski, 1927, 24; Awad and Escoffey, 2008, no. 56.

45b. (18439) A COMPOSITE CAPITAL

Limestone
H.0.17x W. 0.43 m
Roman Period

The combination of diverse forms on this capital which bears features of the Ionic and the Corinthian orders
is extremely rare in Alexandrian architecture. The floral forms above the Ionic capital include rounded central
volutes which are interlaced.

Breccia, 1926, 15-16, fig. 9; Ronczewski, 1927, 15-16; Awad and Escoffey, 2008, no. 75.

144

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45c. (18440) A Corinthian Capital from a Pilaster

Limestone
H. 0.31 m
Roman Period

As preserved this example appears to have been designed as a very rare capital without a neck which
suggests that that part was made separately and attached. It appears to resonate with stylistic features found in
the architectural orders of Al Khazneh at Petra.

Breccia, 1926, 30-32, fig. 24; Ronczewski, 1927, 30. Awad and Escoffey, 2008, no. 76.

45d. (18445) A Corinthian Capital

Limestone
H.0.22x W. 0.36 m
Roman Period

This particular column capital has been described as the most aesthetically accomplished of all of the
capitals recovered by Prince Toussoun from Canopus. Its overall yellowish color appears to have resulted either
from patination or from its polychromy.

Breccia, 1926, 25, no. 2, pi. VI, 2; Ronczewski, 1927, 25; Awad and Escoffey, 2008, no. 81. Compare, McKenzie, 2007, 87,
fig. 132.

146

18445

147

THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

45e. (18505) An Octagonal Corinthian Capital

Limestone
H. 0.58 m
Roman Period

Indicative of the variations of design exhibited by the Corinthian order in Alexandrian Roman architecture
is the octagonal shaft capped by a overlapping astragal on this example. The detail of the ornamentation has
been damaged by exposure to water.

Breccia, 1926, 29, no. 3,pi. VIII, 3; Ronczewski, 1927, 29; Awad and Escoffey, 2008, no. 140.

45f. (18507) An Elaborate Capital

Limestone
H. 0.28 xW. 0.30 m
Roman Period

This example exhibits elaborately ornate corner volutes which spiral forth from an intricate vine motif. One
suggests that the antecedents for this particular design are indebted to Western models of the Hellenistic
Period.

Breccia, 1926, 27, no. 7, pi. VII, 3; Ronczewski, 1927, 27; Awad and Escoffey, 2008, no. 143.

148

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N THE GRAECO-ROMAN MUSEUM

45g. (18415) Lotus form capital

Limestone
H. 0.22 m
Roman Periiod

Traces of color at the surface indicate that the capital was originally painted.

Awad and Escoffey, 2008, no. 51

150

APPENDIX

PIECES FROM THE OMAR TOUSSOUN COLLECTION NOT
INCLUDED IN THE CATALOGUE

1. (3608) Base of a statuette of the goddess Isis with two serpents in relief on the sides
Marble. H. 0,71 m. Maamourah

Awad and Escoffey, 2008, no. 1

2. (11705) Christian funerary inscription with 5 broken lines in the lower part
Marble. 0.25 x 0.18 m. Maamourah

Awad and Escoffey, 2008, no. 3

3. (18367) Architectural decorative angle fragment
Limestone. 0.58 x 0.24 x 0.245 m. Maamourah
Awad and Escoffey, 2008, no. 4

4. (18368) Architectural decorative angle fragment
Limestone. 0.60 x 0.12 x 0.37 m. Maamourah
Awad and Escoffey, 2008, no. 5

5. (18369) Architectural decorative angle fragment
Limestone. 0.58 x 0.24 x 0.245 m. Maamourah
Awad and Escoffey, 2008, no. 6

6. (18371) Doric composite fluted column
Limestone. 1.54 x 0.23 m. Maamourah
Awad and Escoffey, 2008, no. 7

7. (18372) Fragment of cornice
Limestone. 0.54 x 0.21 m. Maamourah
Awad and Escoffey, 2008, no. 8

153

THE OMAR TOUSSOUN COLLECTION

IN THE GRAECO-ROMAN

MUSEUM

8. (18373) Fragment of cornice in poor condition
Limestone. 0.74 x 0.22 m. Maamourah

Awad and Escoffey, 2008, no. 9

9. (18374) Fragment of cornice
Limestone. 0.87 x0.27 m. Maamourah
Awad and Escoffey, 2008, no. 10

10. (18375) Relief of Roman solider
Limestone. 1.17 x 0.57 m.

Awad and Escoffey, 2008, no. 11

11. (18376) Architectural fragment with an engraved letter A
Limestone. 0.54 x 0.40 m. Maamourah

Awad and Escoffey, 2008, no. 12

12. (18380) Fragment of a dentiled cornice
Limestone. 0.26 x 0.23 m. Maamourah
Awad and Escoffey, 2008, no. 16

13. (18381) Fragment of a dentiled cornice
Limestone. 0.45 x 0.18 m. Maamourah
Awad and Escoffey, 2008, no. 17

14. (18382) Fragment of cornice with small divided squares
Limestone. 0.59 x 0.22 m. Maamourah

Awad and Escoffey, 2008, no. 18

15. (18383) Fragment of cornice with small divided squares
Limestone. 0.40 x 0.215 m. Maamourah

Awad and Escoffey, 2008, no. 19

16. (18384) Fragment of a dentiled cornice
Limestone. 0.05 x 0.18 m. Maamourah
Awad and Escoffey, 2008, no. 20

17. (18385) Fragment of a dentiled cornice

154

Limestone. 0.39 x 0.14 m.
Maamourah

Awad and Escoffey, 2008, no. 21

APPENDIX

18. (18386) Fragment of a dentiled cornice
Limestone. 0.38 x 0.20 m. Maamourah
Awad and Escoffey, 2008, no. 22

19. (18387) Fragment of a dentiled cornice
Limestone. 0.42 x 0.18 m. Maamourah
Awad and Escoffey, 2008, no. 23

20. (18388) Fragment of cornice with small squares
Limestone. 0.66 x 0.795 m. Maamourah

Awad and Escoffey, 2008, no. 24

21. (18389) Fragment of cornice with small squares
Limestone. 0.39 x 0.26 m. Maamourah

Awad and Escoffey, 2008, no. 25

22. (18390) Fragment of cornice with small squares
Limestone. 0.48 x 0.24 m. Maamourah

Awad and Escoffey, 2008, no. 26

23. (18391) Fragment of cornice decorated with acanthus leaves
Limestone. 0.18 m. Maamourah

Awad and Escoffey, 2008, no. 27

24. (18392) Fragment of cornice with small squares
Limestone. 0.285x0.18 m. Maamourah

Awad and Escoffey, 2008, no. 28

25. (18393) Fragment of a triglyph cornice
Limestone. 0.25 x 0.49 m. Maamourah
Awad and Escoffey, 2008, no. 29

155

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IN THE GRAECO-ROMAN

MUSEUM

26. (18394) Fragment of cornice with traces of color
Limestone. 0.20 x 0.53 m. Maamourah

Awad and Escoffey, 2008, no. 30

27. (18395) Fragment of cornice decorated with acanthus leaves
Limestone. 0.21 x0.25 m. Maamourah

Awad and Escoffey, 2008, no. 31

28. (18396) Fragment of cornice with small squares
Limestone. 0.24 x 0.18 m. Maamourah

Awad and Escoffey, 2008, no. 32

29. (18398) Corinthian capital
Marble. 0.20 m. Maamourah
Awad and Escoffey, 2008, no. 34

30. (18399) Corinthian capital
Marble. 0.20 m. Maamourah
Awad and Escoffey, 2008, no. 35

31. (18404) Coptic funerary inscription
Nummulitic Limstone. 134 x 0.45 m. Maamourah
Awad and Escoffey, 2008, no. 40

32. (18407) Corinthian capital with some traces of color
Limestone. 0.38 x 0.61 m. Maamourah

Awad and Escoffey, 2008, no. 43

33. (18408) Doric capital of fluted column
Limestone. 0.26 x 0.45 m. Maamourah
Awad and Escoffey, 2008, no. 44

34. (18409) Fragment of coated fluted column
Limestone. 0.79 m. Maamourah

Awad and Escoffey, 2008, no. 45

156

APPENDIX

35. (18410) Fragment of plastered fluted column
Limestone. 1.42 m. Maamourah

Awad and Escoffey, 2008, no. 46

36. (18411) Portrait of an adolescent
Limestone. 0.17 m.

Awad and Escoffey, 2008, no. 47

37. (18412) Small column with capital (window)

Limestone. 0.42 x 126 m. Maamourah

Awad and Escoffey, 2008, no. 48

38. (18413) Small column with capital
Limestone. 0.39 x 0.27 m. Maamourah
Awad and Escoffey, 2008, no. 49

39. (18414) Small column with base
Limestone. 0.50 m. Maamourah
Awad and Escoffey, 2008, no. 50

40. (18415) Lotus shaped capital originally painted
Limestone. 0.22 m. Maamourah

Awad and Escoffey, 2008, no. 51

41. (18416) Doric capital with base
Limestone. 0.36 x 0.30 m. Maamourah
Awad and Escoffey, 2008, no. 52

42. (18417) Colored head of a goddess missing the nose and the upper part
Plaster. 0.32x0.22 m.

Awad and Escoffey, 2008, no. 53

43. (18419) Pedestal table in the shape of a bird with outstretched wings
Limestone. 0.35 x 0.52 m.

Awad and Escoffey, 2008, no. 55

157

THE OMAR TOUSSOUN COLLECTION IN

THE GRAECO-ROMAN MUSEUM

44. (18421) Doric capital
Limestone. 0.35 x 0.28 m. Maamourah
Awad and Escoffey, 2008, no. 57

45. (18422) Small column
Limestone. 0.34 x 0.26 m. Maamourah
Awad and Escoffey, 2008, no. 58

46. (18423) Small column
Limestone. 0.94 m. Maamourah
Awad and Escoffey, 2008, no. 59

47. (18424) Small column
Limestone. 0.42 m. Maamourah
Awad and Escoffey, 2008, no. 60

48. (18425) Architectural fragment with small squares
Limestone. 0.30 x 0.31 m. Maamourah

Awad and Escoffey, 2008, no. 61

49. (18426) Small column with base
Limestone. 0.52 m. Maamourah
Awad and Escoffey, 2008, no. 62

50. (18427) Column
Limestone. 1.67 m. Maamourah
Awad and Escoffey, 2008, no. 63

51. (18428) Angle of pillar
Limestone. 0.31 x0.42 m. Maamourah
Awad and Escoffey, 2008, no. 64

52. (18429) Corinthian capital
Limestone. 0.41 x 47 m. Maamourah
Awad and Escoffey, 2008, no. 65

158

APPENDIX

53. (18430) Doric capital of fluted column
Limestone. 0.30 x 0.60 m. Maamourah
Awad and Escoffey, 2008, no. 66

54. (18431) 5 fragments of fluted column
Limestone. 1.73 m. Maamourah
Awad and Escoffey, 2008, no. 67

55. (18432) Fragment of pillar decorated with small squares
Limestone. 0.40 x 0.40 m. Maamourah

Awad and Escoffey, 2008, no. 68

56. (18433) Votive base
Limestone. 0.16 x 0.30 m. Maamourah
Awad and Escoffey, 2008, no. 69

57. (18434) Architectural fragment of decorated column
Limestone. 0.43 x 0.545 m. Maamourah

Awad and Escoffey, 2008, no. 70

58. (18435) Capital of pillar decorated with discs in relief
Limestone. 0.16 x 0.245 m. Maamourah

Awad and Escoffey, 2008, no. 71

59. (18436) Fragment of pillar decorated with small squares
Limestone. 0.34 x 0.44 m.

Awad and Escoffey, 2008, no. 72

60. (18437) Fragment decorated with discs
Limestone. 0.33 x 0.33 m. Maamourah
Awad and Escoffey, 2008, no. 73

61. (18438) Corinthian capital
Marble. 0.23 m.

Awad and Escoffey, 2008, no. 74

159

THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

62. (18441) Architectural rosette
Limestone. 0.21 m. Maamourah
Awad and Escoffey, 2008, no. 77

63. (18442) Architrave

Limestone. 1.30 x 0.16 m. Maamourah
Awad and Escoffey, 2008, no. 78

64. (18443) Fragment of a capital
Limestone. 0.28 x 0.35 m. Maamourah
Awad and Escoffey, 2008, no. 79

65. (18444) Fragment of capital
Limestone. 0.26 x 0.30 m. Maamourah
Awad and Escoffey, 2008, no. 80

66. (18446) Doric capital
Limestone. 0.32 m. Maamourah
Awad and Escoffey, 2008, no. 82

67. (18447) Corinthian capital with frieze
Limestone. 0.23 m. Maamourah
Awad and Escoffey, 2008, no. 83

68. (18448) Corinthian capital with frieze
Limestone. 0.35 x 0.46 m. Maamourah
Awad and Escoffey, 2008, no. 84

69. (18449) Corinthian capital with frieze
Limestone. 0.25 x 0.365 m. Maamourah
Awad and Escoffey, 2008, no. 85

70. (18450) Corinthian capital with frieze
Limestone. 0.22 x 0.37 m. Maamourah
Awad and Escoffey, 2008, no. 86

160

APPENDIX

71. (18451) Corinthian capital with frieze
Limestone. 0.19 x 0.30 m. Maamourah
Awad and Escoffey, 2008, no. 87

72. (18452) Corinthian capital with frieze, with traces of color
Limestone. 0.11 x0.30 m. Maamourah

Awad and Escoffey, 2008, no. 88

73. (18453) Capital

Limestone. 0.26 x 0.35 m. Maamourah
Awad and Escoffey, 2008, no. 89

74. (18454) Doric capital
Limestone. 0.27 x 0.40 m. Maamourah
Awad and Escoffey, 2008, no. 90

75. (18455) Fragment of Agathodaemon
Basalt. 0.22 m. Maamourah

Awad and Escoffey, 2008, no. 91

76. (18456) Fragment of rear part of sphinx
Basalt. 0.13x0.14 m. Maamourah
Awad and Escoffey, 2008, no. 92

77. (18457) Capital and small pillar
Limestone. 0.42 x 0.925 m. Maamourah
Awad and Escoffey, 2008, no. 93

78. (18458) Fragment of small diagonal column
Limestone. 0.26 m. Maamourah

Awad and Escoffey, 2008, no. 94

79. (18459) Fragment of polychrome capital
Limestone. 0.18 m.

Awad and Escoffey, 2008, no. 95

161

THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

80. (18460) Corinthian capital and column
Limestone. 0.41 m. Maamourah

Awad and Escoffey, 2008, no. 96

81. (18461) Small decagonal column
Limestone. 0.46 m. Maamourah
Awad and Escoffey, 2008, no. 97

82. (18462) Angle of Doric capital
Limestone. 0.18 m. Maamourah
Awad and Escoffey, 2008, no. 98

83. (18463) Corinthian capital
Limestone. 0.22 x 0.41 m. Maamourah
Awad and Escoffey, 2008, no. 99

84. (18464) Small column with capital
Limestone. 0.34 x 0.31 m. Maamourah
Awad and Escoffey, 2008, no. 100

85. (18464) Small fluted column with its capital
Limestone. 0.34 x 0.31 m. Maamourah
Awad and Escoffey, 2008, no. 101

86. (18466) Small fluted column with capital
Limestone. 0.35 m. Maamourah

Awad and Escoffey, 2008, no. 102

87. (18467) Base of column
Limestone. 0.27 m. Maamourah
Awad and Escoffey, 2008, no. 103

88. (18468) Dentiled architectural fragment
Limestone. 0.25 x 0.48 m. Maamourah
Awad and Escoffey, 2008, no. 104

89. (18469) Dentilled architectural fragment

162

APPEND

Limestone. 0.12 x 0.33 m. Maamourah
Awad and Escoffey, 2008, no. 105

90. (18470) Architectural fragment
Limestone. 0.23 x 0.41 m. Maamourah
Awad and Escoffey, 2008, no. 106

91. (18471) Square architectural fragment
Limestone. 0.16 x 0.33 m. Maamourah
Awad and Escoffey, 2008, no. 107

92. (18472) Dentiled architectural fragment
Limestone. 0.20 x 0.56 m. Maamourah
Awad and Escoffey, 2008, no. 108

93. (18473) Square architectural fragment
Limestone. 0.15 x 0.43 m. Maamourah
Awad and Escoffey, 2008, no. 109

94. (18474) Dentiled architectural fragment
Limestone. 0.34 x 0.40 m. Maamourah
Awad and Escoffey, 2008, no. 110

95. (18475) Square architectural fragment
Limestone. 0.17 x 0.43 m. Maamourah
Awad and Escoffey, 2008, no. 111

96. (18476) Square architectural fragment
Limestone. 0.16 x 0.50 m. Maamourah
Awad and Escoffey, 2008, no. 112

97. (18477) Architectural fragment of cornice with uraeus
Limestone. 0.18x0.31 m. Maamourah

Awad and Escoffey, 2008, no. 113

98. (18478) Architectural fragment of cornice with uraeus

163

THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

Limestone. 0.14 x 0.29 m. Maamourah
Awad and Escoffey, 2008, no. 114

99. (18479) Architectural fragment of cornice with uraeus
Limestone. 0.74 x 0.14 m. Maamourah

Awad and Escoffey, 2008, no. 115

100. (18480) Architectural fragment of cornice
Limestone. 0.18x0.51 m. Maamourah
Awad and Escoffey, 2008, no. 116

101. (18481) Dentiled architectural fragment
Limestone. 0.33 x 0.23 m. Maamourah
Awad and Escoffey, 2008, no. 117

102. (18482) Dentiled architectural fragment
Limestone. 0.25 x 0.30 m. Maamourah
Awad and Escoffey, 2008, no. 118

103. (18483) Dentiled architectural fragment
Limestone. 0.17 x 0.28 m. Maamourah
Awad and Escoffey, 2008, no. 119

104. (18484)

Limestone. 0.25 x W. 062 m. Maamourah

Breccia, 1911, 103-104, no. 181; Awad and Escoffey, 2008, no. 120

105. (18485) Dentiled architectural fragment
Limestone. 0.24 x 0.41 m. Maamourah
Awad and Escoffey, 2008, no. 121

106. (18486) Architectural fragment
Limestone. 0.48 x 0.12 m. Maamourah
Awad and Escoffey, 2008, no. 122

164

107. (18487) Head of the god Dionysos
Plaster. 0.16 x 0.17 m.

Awad and Escoffey, 2008, no. 123

108. (18490) Fragment of a Corinthian capital
Limestone. 0.37 x0.33 m. Maamourah
Awad and Escoffey, 2008, no. 126

109. (18491) Capital

Limestone. 0.45 x 0.23 m. Maamourah
Awad and Escoffey, 2008, no. 127

110. (18492) Fluted column covered with plaster
Limestone. 1.50 m. Maamourah

Awad and Escoffey, 2008, no. 128

111. (18493) Fluted column covered with plaster
Limestone. 0.38 m. Maamourah

Awad and Escoffey, 2008, no. 129

112. (18494) Fluted column covered with plaster
Limestone. 0.26 m. Maamourah

Awad and Escoffey, 2008, no. 130

113. (18495) Fragment of volute shaped capital
Limestone. 0.19 x 0.22 m. Maamourah

Awad and Escoffey, 2008, no. 131

114. (18496) Fragment of volute shaped capital
Limestone. 0.36 x 0.29 m. Maamourah

Awad and Escoffey, 2008, no. 132

115. (18497) Fragment of colored capital
Limestone. 0.21 x0.38 m. Maamourah
Awad and Escoffey, 2008, no. 133

APPEND

165

THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

116. (18498) Small decagonal vase with a capital
Limestone. 0.62 m.

Awad and Escoffey, 2008, no. 134

117. (18500) Column with colored capital
Limestone. 0.47 m. Maamourah

Awad and Escoffey, 2008, no. 136

118. (18501) Column

Marble. 0.28 x 0.25 m. Maamourah
Awad and Escoffey, 2008, no. 137

119. (18502) Fragment of bearded head
Limestone. 0.11 x0.12 m. Maamourah
Awad and Escoffey, 2008, no. 138

120. (18503) Fragment of inscription in red letters
Limestone. 0.17 x 0.30 m. Maamourah

Awad and Escoffey, 2008, no. 139

121. (18504) Small decagonal column with a capital
Limestone. 0.58 m. Maamourah

Awad and Escoffey, 2008, no. 140

122. (18506) Angle decorated with a Doric capital
Limestone. 0.54 x 0.23 m.

Awad and Escoffey, 2008, no. 142

123. (18508) Capital of square column
Limestone. 0.30 x 0.28 m. Maamourah
Awad and Escoffey, 2008, no. 144

124. (18509) Small column with capital
Limestone. 0.34 m. Maamourah
Awad and Escoffey, 2008, no. 145

166

APPENDIX

125. (18510) Fragment of a small decagonal base
Limestone. 0.35 x 0.20 m. Maamourah

Awad and Escoffey, 2008, no. 146

126. (18512) Colored capital on a fluted column
Limestone. 0.35 x 0.36 m. Maamourah

Awad and Escoffey, 2008, no. 148

127. (18514) Basin

Basalt. 0.40 m. Maamourah
Awad and Escoffey, 2008, no. 150

128. (18515) Fragment of a capital
Limestone. 0.14 x 0.25 m. Maamourah
Awad and Escoffey, 2008, no. 151

129. (18516) Small decagonal column
Limestone. 0.54 m. Maamourah
Awad and Escoffey, 2008, no. 152

130. (18517) Dentiled architectural fragment
Limestone. 0.30 x 0.50 m. Maamourah
Awad and Escoffey, 2008, no. 153

131. (18518) Dentiled architectural fragment
Limestone. 0.16 x 0.40 m. Maamourah
Awad and Escoffey, 2008, no. 154

132. (18519) Dentiled architectural fragment
Limestone. 0.19 x 0.42 m. Maamourah
Awad and Escoffey, 2008, no. 155

133. (18520) Angle of architectural fragment decorated with squares
Limestone. 0.23 x 0.46 m. Maamourah

Awad and Escoffey, 2008, no. 156

167

THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN

MUSEUM

134. (18521) Angle of architectural fragment decorated with squares
Limestone. 0.15 x 0.40 m. Maamourah

Awad and Escoffey, 2008, no. 157

135. (18522) Angle of cornice fragment decorated with squares
Limestone. 0.135 x 0.32 m. Maamourah

Awad and Escoffey, 2008, no. 158

136. (18523) Angle of cornice fragment decorated with squares
Limestone. 0.22 x 0.50 m. Maamourah

Awad and Escoffey, 2008, no. 159

137. (18524) Angle of cornice fragment decorated with squares
Limestone. 0.17 x 0.52 m. Maamourah

Awad and Escoffey, 2008, no. 160

138. (18525) Upper part of a stele
Limestone. 0.27 x 0.49 m.

Awad and Escoffey, 2008, no. 161

139. (18526) Dentiled architectural fragment
Limestone. 0.27 x0.26 m. Maamourah
Awad and Escoffey, 2008, no. 162

140. (18527) Capital of an engaged column
Limestone. 0.21 x 0.40 m. Maamourah
Awad and Escoffey, 2008, no. 163

141. (18528) Capital of an engaged pillar
Limestone. 0.50 x 0.38 m. Maamourah
Awad and Escoffey, 2008, no. 164

142. (18529) Capital of a simple column
Limestone. 0.27 m. Maamourah
Awad and Escoffey, 2008, no. 165

168

143. (18532) Mouth of a lion headed fountain
Limestone. 0.15 m. Maamourah

Awad and Escoffey, 2008, no. 168

144. (18533) Fragment of small column
Limestone. 0.21 m. Maamourah
Awad and Escoffey, 2008, no. 169

145. (18534) Fragment of small column
Limestone. 0.27 m. Maamourah
Awad and Escoffey, 2008, no. 170

146. (18535) Angle of small column
Limestone. 0.32 x 0.47 m. Maamourah
Awad and Escoffey, 2008, no. 171

147. (18537) Doric capital
Limestone. 0.15 x 0.23 m. Maamourah
Awad and Escoffey, 2008, no. 173

148. (18538) Small engaged column
Limestone. 0.69 m. Maamourah
Awad and Escoffey, 2008, no. 174

149. (18539) Plastered Capital
Limestone. 0.35 x 1.0 m. Maamourah
Awad and Escoffey, 2008, no. 175

150. (18541) Dentilled architectural fragment
Limestone. 0.13 x 0.095 m. Maamourah
Awad and Escoffey, 2008, no. 177

151. (18542) Dentilled architectural fragment
Limestone. 0.20 x 0.16 m. Maamourah
Awad and Escoffey, 2008, no. 178

APPEND

169

THE OMAR TOUSSOUN COLLECTION IN

THE GRAECO-ROMAN MUSEUM

152. (18543) Dentilled architectural fragment
Limestone. 0.25 x 0.13 m. Maamourah
Awad and Escoffey, 2008, no. 179

153. (18544) Dentilled architectural fragment
Limestone. 0.25 x 0.15 m. Maamourah
Awad and Escoffey, 2008, no. 180

154. (18545) Fragment of volute shaped capital
Limestone. 0.18x0.14 m. Maamourah

Awad and Escoffey, 2008, no. 181

155. (18546) Fragment of volute shaped capital
Limestone. 0.21 x0.22 m. Maamourah

Awad and Escoffey, 2008, no. 182

156. (18547) Fragment of volute shaped capital
Limestone. 0.22 m. Maamourah

Awad and Escoffey, 2008, no. 183

157. (18548) Fragment of capital with colored volutes
Limestone. 0.22 m. Maamourah

Awad and Escoffey, 2008, no. 184

158. (18549) Fragment of volute shaped capital
Limestone. 0.22 m. Maamourah

Awad and Escoffey, 2008, no. 185

159. (18550) Fragment of small fluted column
Limestone. 0.21 x0.17 m. Maamourah
Awad and Escoffey, 2008, no. 186

160. (18551) Fragment of colored capital with volutes
Limestone. 0.22 x 0.23 m. Maamourah

Awad and Escoffey, 2008, no. 187

170

APPENDIX

161. (18552) Rhomboid architectural fragment
Limestone. 0.38 x 0.15 m.

Awad and Escoffey, 2008, no. 188

162. (18553) Small oinochoe shaped vase with handles
Bronze. 0.303 m.

Awad and Escoffey, 2008, no. 189

163. (18554) Small oval vase with a pelican shaped handles
Bronze . 0.25 m.

Awad and Escoffey, 2008, no. 190

164. (18555) Pelican
Bronze ,0.10m.

Awad and Escoffey, 2008, no. 191

165. (18556) Khonsou
Bronze ,0.19m.

Awad and Escoffey, 2008, no. 192

166. (18557) Egyptian priest in a posture of worship
Bronze .0.085 m.

Awad and Escoffey, 2008, no. 193

167. (18558) Osiris
Bronze ,0.098 m.

Awad and Escoffey, 2008, no. 194

168. (18559) Khonsou
Bronze ,0.10m.

Awad and Escoffey, 2008, no. 195

169. (18560) Head of the cat goddess Bastet
Bronze . 0.05 m.

Awad and Escoffey, 2008, no. 196

171

THE OMAR TOUSSOUN COLLECTION IN

THE GRAECO-ROMAN MUSEUM

170. (18561) A cat eating
Bronze . 0.04 m.

Awad and Escoffey, 2008, no. 197

171. (18563) Animal figurine
Bronze ,0.022 m.

Awad and Escoffey, 2008, no. 199

172. (18564) Various fragments
Bronze . 28 pieces

Awad and Escoffey, 2008, no. 200

173. (18565) Spoon
Lead. L. 0.10 m

Awad and Escoffey, 2008, no. 201

174. (18566) Weight
Lead. 0.4 x 0.035 m

Awad and Escoffey, 2008, no. 202

175. (18567) Weight
Lead. 0.4 x 0.04 m

Awad and Escoffey, 2008, no. 203

176. (18568) Fragment of a folded utensil
Lead. 0.5 m

Awad and Escoffey, 2008, no. 204

177. (18569) Pelican
Lead. 0.04 m

Awad and Escoffey, 2008, no. 205

178. (18570) Shovel with mirror shaped handle
Lead. 0.11 m

Awad and Escoffey, 2008, no. 206

172

179. (18574) Female portrait in poor condition
Marble. 0.10 m. Maamourah

Awad and Escoffey, 2008, no. 210

180. (18575) Fragment of Greek inscription of 5 lines
Marble. 0.16 x 0.12 m. Maamourah

Awad and Escoffey, 2008, no. 211

181. (18576) Fragment of Greek inscription of 2 lines
Marble 0.21 x 0.14 m. Maamourah

Awad and Escoffey, 2008, no. 212

182. (18577) Fragment of Greek inscription
Marble. 0.13 x 0.115 m. Maamourah
Awad and Escoffey, 2008, no. 213

183. (18578) Fragment of Latin inscription
Marble. 0.17 x 0.11 m.

Awad and Escoffey, 2008, no. 214

184. (18579) Fragment of Latin inscription
Marble. 0.115 x 0.19 m. Maamourah
Awad and Escoffey, 2008, no. 215

185. (18580) Fragment of inscription
Marble. 0.135 x 0.115 m. Maamourah
Awad and Escoffey, 2008, no. 216

186. (18581) Fragment of inscription
Marble. 0.18 x 0.075 m.

Awad and Escoffey, 2008, no. 217

187. (18582) Fragment of Greek inscription
Marble. 0.12 x 0.145 m. Maamourah
Awad and Escoffey, 2008, no. 218

APPEND

173

THE OMAR TOUSSOUN COLLECTION IN

THE GRAECO-ROMAN MUSEUM

188. (18583) Fragment of Greek inscription
Marble. 0.15 x 0.16 m. Maamourah
Awad and Escoffey, 2008, no. 219

189. (18584) Fragment of Greek inscription
Marble. 0.13 x 0.245 m. Maamourah
Awad and Escoffey, 2008, no. 220

190. (18585) Fragment of Christian inscription
Marble. 0.12 x 0.165 m. Maamourah

Awad and Escoffey, 2008, no. 221

191. (18586) Fragment of inscription: MY
Marble. 0.06 x 0.07 m. Maamourah
Awad and Escoffey, 2008, no. 222

192. (18587) Fragment of Ptolemaic inscription
Monolith. 0.155 x 0.14 m. Maamourah

Awad and Escoffey, 2008, no. 223

193. (18588) Fragment of hieroglyphic inscription
Basalt. 0.19 x0.15 m. Maamourah

Awad and Escoffey, 2008, no. 224

194. (18589) Accus crinoline
Gold. 0.068 m

Awad and Escoffey, 2008, no. 225

195. (18590) Animal tooth
Gold. 0.043 m

Awad and Escoffey, 2008, no. 226

196. (18591) Tablet, an old man between 2 female busts
Gold. 0.155 m

Awad and Escoffey, 2008, no. 227

174

APPEND

197. (18592) Tablet with busts of a woman and a young man
Gold. 0.145 m

Awad and Escoffey, 2008, no. 228

198. (18593) Fragment of utensil for female work
Gold. 0.053 m

Awad and Escoffey, 2008, no. 229

199. (18594) Fragment of Accus
Gold. 0.038 m

Awad and Escoffey, 2008, no. 230

200. (18595) Fragment of utensil
Gold. 0.038 m

Awad and Escoffey, 2008, no. 231

201. (18596) Handle of utensil
Gold. 0.138 m

Awad and Escoffey, 2008, no. 232

202. (18597) Handle of utensil
Gold. 0.092 m

Awad and Escoffey, 2008, no. 233

203. (18598) Bust of Minerva with a helmet
Gold. 0.076 m

Awad and Escoffey, 2008, no. 234

204. (18599) Bust of an old man
Gold. 0.11 m

Awad and Escoffey, 2008, no. 235

205. (18600) Bust of Venus coming out of her bath
Gold. 0.12 m

Awad and Escoffey, 2008, no. 236

175

THE OMAR TOUSSOUN COLLECTION IN

THE GRAECO-ROMAN MUSEUM

206. (18601) Bust of a walking woman with a bare back
Gold. 0.018 m

Awad and Escoffey, 2008, no. 237

207. (18602) Bust of a semi naked young man
Gold. 0.085 m

Awad and Escoffey, 2008, no. 238

208. (18603) Handle of utensil
Gold. 0.09 m

Awad and Escoffey, 2008, no. 239

209. (18604) Handle of utensil
Gold. 0.138 m

Awad and Escoffey, 2008, no. 240

210. (18605) Accus crinoline
Gold. 0.065 m

Awad and Escoffey, 2008, no. 241

211. (18606) Oval decorative fragment
Gold. 0.080 m

Awad and Escoffey, 2008, no. 242

212. (18607) Oval decorative fragment
Gold. 0.055 m

Awad and Escoffey, 2008, no. 243

213. (18608) Accus crinoline
Gold. 0.078 m

Awad and Escoffey, 2008, no. 244

214. (18609) Handle of utensil
Gold. 0.04 m

Awad and Escoffey, 2008, no. 245

176

APPENDIX

215. (18610) Fragment of decorative catch
Gold. 0.060 m

Awad and Escoffey, 2008, no. 246

216. (18611) Grotesque mask of Dionysus
Gold. 0.065 m

Awad and Escoffey, 2008, no. 247

217. (18612) Catch decorated with a veiled woman
Gold. 0.065 m

Awad and Escoffey, 2008, no. 248

218. (18613) Disk
Gold. 0.025 m

Awad and Escoffey, 2008, no. 249

219. (18614) Head of figurine
Gold. 0.035 m

Awad and Escoffey, 2008, no. 250

220. (18615) ) Accus crinoline
Gold. 0.076 m

Awad and Escoffey, 2008, no. 251

221. (18616) Oval decorative fragment
Gold. 0.060 m

Awad and Escoffey, 2008, no. 252

222. (18617) Accus crinoline
Gold. 0.076 m

Awad and Escoffey, 2008, no. 253

223. (18618) Triangular lamp handle with floral decoration
Terracotta. 0.085 m

Awad and Escoffey, 2008, no. 254

177

THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

224. (18619) Seated Harpocrates with an urn at his right
Terracotta. 0.085 m

Awad and Escoffey, 2008, no. 255

225. (18620) Seated headless painted Harpocrates
Terracotta. 0.105 m

Awad and Escoffey, 2008, no. 256

226. (18621) Grotesque seated figure with outstretched arms
Terracotta. 0.11 m

Awad and Escoffey, 2008, no. 257

227. (18622) Handle of lamp with headless mother Isis
Terracotta. 0.055 m

Awad and Escoffey, 2008, no. 258

228. (18623) Handle of lamp with bust of Sarapis
Terracotta. 0.075 m

Awad and Escoffey, 2008, no. 259

229. (18624) Handle of lamp with bust of Sarapis
Terracotta. 0.10 m

Awad and Escoffey, 2008, no. 260

230. (18625) Head of female figure with a hole on the top
Terracotta. 0.045 m

Awad and Escoffey, 2008, no. 261

231. (18626) Head of an adolescent with a hole on the top
Terracotta. 0.05 m

Awad and Escoffey, 2008, no. 262

232. (18627) Dog
Terracotta. 0.055 m. Maamourah
Awad and Escoffey, 2008, no. 263

178

APPENDIX

233. (18628) Head of male figure with a flat cap
Terracotta. 0.038 m

Awad and Escoffey, 2008, no. 264

234. (18629) Sheep’s head
Terracotta. 0.045 m. Maamourah
Awad and Escoffey, 2008, no. 265

235. (18630) Baboon head
Terracotta. 0.025 m

Awad and Escoffey, 2008, no. 266

236. (18631) Bust of grotesque figure
Terracotta. 0.050 m

Awad and Escoffey, 2008, no. 267

237. (18632) Small vase with a pig
Terracotta. 0.050 m. Maamourah
Awad and Escoffey, 2008, no. 268

238. (18633) Bust of crowned woman with the right hand on the mouth
Terracotta. 0.065 m

Awad and Escoffey, 2008, no. 269

239. (18634) Harpocrates riding
Terracotta. 0.150 m

Awad and Escoffey, 2008, no. 270

240. (18635) Harpocrates riding on a goose
Terracotta. 0.125 m

Awad and Escoffey, 2008, no. 271

241. (18636) Head of a figures in a Phrygian cap with its hand on its mouth
Terracotta. 0.115 m

Awad and Escoffey, 2008, no. 272

179

THE OMAR TOUSSOUN COLLECTION IN

THE GRAECO-ROMAN MUSEUM

242. (18637) Harpocrates riding on a goose
Terracotta. 0.150 m

Awad and Escoffey, 2008, no. 273

243. (18639) Fragment of a figure of Harpocrates
Terracotta. 0.07 m

Awad and Escoffey, 2008, no. 275

244. (18640) Seated Harpocrates
Terracotta. 0.13 m

Awad and Escoffey, 2008, no. 276

245. (18641) Harpocrates sitting cross-legged with an urn
Terracotta. 0.15 m

Awad and Escoffey, 2008, no. 277

246. (18643) Fragment of a capital
Limestone. 0.13 m. Maamourah
Awad and Escoffey, 2008, no. 279

247. (18644) Fragment of a capital
Limestone. 0.14 m. Maamourah
Awad and Escoffey, 2008, no. 280

248. (18645) Fragment of a capital
Limestone. 0.13 m. Maamourah
Awad and Escoffey, 2008, no. 281

249. (18646) Fragment of a volute shaped capital
Limestone. 0.16 m. Maamourah

Awad and Escoffey, 2008, no. 282

250. (18647) Fragment of a capital
Limestone. 0.12 m. Maamourah
Awad and Escoffey, 2008, no. 283

180

APPENDIX

251. (18648) Fragment of a capital
Limestone. 0.17x0.12 m. Maamourah
Awad and Escoffey, 2008, no. 284

252. (18649) Fragment of a capital
Limestone. 0.16 x 0.17 m. Maamourah
Awad and Escoffey, 2008, no. 285

253. (18650) Fragment of a volute shaped capital
Limestone. 1.13m

Awad and Escoffey, 2008, no. 286

254. (18651) Fragment of a capital
Limestone. 0.08 m. Maamourah
Awad and Escoffey, 2008, no. 287

255. (18652) Fragment of a capital
Limestone. 0.19 m. Maamourah
Awad and Escoffey, 2008, no. 288

256. (18653) Fragment of a volute shaped capital
Limestone. 0.12 x 0.10 m

Awad and Escoffey, 2008, no. 289

257. (18654) Fragment of a volute shaped capital colored in rose
Limestone. 0.08 m

Awad and Escoffey, 2008, no. 290

258. (18655) Fragment of a volute shaped capital
Limestone. 0.16 m. Maamourah

Awad and Escoffey, 2008, no. 291

259. (18656) Fragment of a colored capital
Limestone. 0.15 m. Maamourah

Awad and Escoffey, 2008, no. 292

181

THE OMAR TOUSSOUN COLLECTION

IN THE GRAECO-ROMAN

MUSEUM

260. (18657) Fragment of a volute shaped capital colored in green
Limestone. 0.12 m. Maamourah

Awad and Escoffey, 2008, no. 293

261. (18658) Fragment of a green capital
Limestone. 0.125 m. Maamourah

Awad and Escoffey, 2008, no. 294

262. (18659) Fragment of a capital
Limestone. 0.15 m. Maamourah
Awad and Escoffey, 2008, no. 295

263. (18660) Fragment of a capital
Limestone. 0.10x0.16 m. Maamourah
Awad and Escoffey, 2008, no. 296

264. (18661) Altar
Limestone. 0.11 x 0.07 m

Awad and Escoffey, 2008, no. 297

265. (18662) Fragment of a cornice
Limestone. 0.24 m. Maamourah
Awad and Escoffey, 2008, no. 298

266. (18663) Fragment of a cornice
Limestone. 0.12x0.16 m. Maamourah
Awad and Escoffey, 2008, no. 299

267. (18664) Fragment of a capital
Limestone. 0.16 m. Maamourah
Awad and Escoffey, 2008, no. 300

268. (18665) Fragment of cornice
Limestone. 0.225 m. Maamourah
Awad and Escoffey, 2008, no. 301

182

APPENDIX

269. (18666) Fragment of a volute
Limestone. 0.17 m. Maamourah
Awad and Escoffey, 2008, no. 302

270. (18667) Fragment of a capital with a pink colored volute
Limestone. 0.16 m. Maamourah

Awad and Escoffey, 2008, no. 303

271. (18668) Architectural fragment
Limestone. 0.23 x 0.15 m. Maamourah
Awad and Escoffey, 2008, no. 304

272. (18669) Architectural fragment
Limestone. 0.15 m. Maamourah
Awad and Escoffey, 2008, no. 306

273. (18670) Architectural fragment
Limestone. 0.16 m. Maamourah
Awad and Escoffey, 2008, no. 306

274. (18671) Remains of pipes
Lead. 0.70 m. Maamourah
Awad and Escoffey, 2008, no. 307

275. (18672) Remains of pipes
Lead. 0.84 m. Maamourah
Awad and Escoffey, 2008, no. 308

276. (18673) Remains of pipes
Lead. 0.36 m. Maamourah
Awad and Escoffey, 2008, no. 309

277. (18674) Remains of pipes
Lead. 0.39 m. Maamourah
Awad and Escoffey, 2008, no. 310

183

THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

278. (18675) Remains of pipes
Lead. 0.66 m. Maamourah
Awad and Escoffey, 2008, no. 311

279. (18676) Remains of pipes
Lead. 0.70 m. Maamourah
Awad and Escoffey, 2008, no. 312

280. (18677) Remains of pipes
Lead. 0.37 m. Maamourah
Awad and Escoffey, 2008, no. 313

281. (18678) Remains of pipes
Lead. 0.39 m. Maamourah
Awad and Escoffey, 2008, no. 314

282. (18679) Remains of pipes
Lead. 0.65 m. Maamourah
Awad and Escoffey, 2008, no. 315

283. (18680) Remains of pipes
Lead. 0.68 m. Maamourah
Awad and Escoffey, 2008, no. 316

284. (18681) Remains of pipes
Lead. 0.92 m. Maamourah
Awad and Escoffey, 2008, no. 317

285. (18682) Remains of pipes
Lead. 0.72 m. Maamourah
Awad and Escoffey, 2008, no. 318

286. (18683) Remains of pipes
Lead. 0.79 m. Maamourah
Awad and Escoffey, 2008, no. 319

184

287. (18684) Remains of pipes
Lead. 0.72 m

Awad and Escoffey, 2008, no. 320

288. (18685) Remains of pipes
Lead. 0.52 m. Maamourah
Awad and Escoffey, 2008, no. 321

288. (18686) Remains of pipes
Lead. 0.50 m. Maamourah
Awad and Escoffey, 2008, no. 322

290. (18687) Remains of pipes
Lead. 0.54 m. Maamourah
Awad and Escoffey, 2008, no. 323

291. (18688) Remains of pipes
Lead. 0.36 m. Maamourah
Awad and Escoffey, 2008, no. 324

292. (18689) Remains of pipes
Lead. 0.43 m. Maamourah
Awad and Escoffey, 2008, no. 325

293. (18690) Egyptian style head
Limestone. 0.085 m.

Awad and Escoffey, 2008, no. 326

294. (18691) Egyptian style head
Marble. 0.11 m. Maamourah
Awad and Escoffey, 2008, no. 327

295. (18696) Head of figure with added eyes
Marble. 0.095 m. Maamourah

Awad and Escoffey, 2008, no. 332

APPEND

185

THE OMAR TOUSSOUN COLLECTION IN

THE GRAECO-ROMAN MUSEUM

296. (18702) Fragment of an Asclepius’ statue
Marble. 0.15 m. Maamourah

Awad and Escoffey, 2008, no. 338

297. (18705) Fragment of the right side of a male bust
Marble. 0.15 m. Maamourah

Awad and Escoffey, 2008, no. 341

298. (18707) Fragment of sculpture
Marble. 0.073 m. Maamourah
Awad and Escoffey, 2008, no. 343

299. (18708) Fragment of altar vase
Marble. 0.165 m. Maamourah
Awad and Escoffey, 2008, no. 344

300. (18709) Fragment of decorated tablet
Limestone. 0.13x0.16 m. Maamourah
Awad and Escoffey, 2008, no. 345

301. (18710) Fragment of a straight vase
Marble. 0.12 x 0.13 m. Maamourah
Awad and Escoffey, 2008, no. 346

302. (18711) Fragment of a leg with foot
Marble. 0.10 m. Maamourah

Awad and Escoffey, 2008, no. 347

303. (18712) Fragment of a right foot
Marble. 0.14 m. Maamourah
Awad and Escoffey, 2008, no. 348

304. (18713) Fragment of rear part of head of a sphinx
Black granite. 0.095 m. Maamourah

Awad and Escoffey, 2008, no. 349

186

305. (18714) Fragment of left foot
Marble. 0.085 m. Maamourah
Awad and Escoffey, 2008, no. 350

APPENDIX

306. (18715) Fragment of a figurine of a goddess
Marble. 0.09 x 0.065 m. Maamourah

Awad and Escoffey, 2008, no. 351

307. (18716) Fragment of left foot
Marble. 0.10 m. Maamourah
Awad and Escoffey, 2008, no. 352

308. (18717) Fragment of a bust of a Canopic god with an inscription
Limestone. 0.10 m.

Awad and Escoffey, 2008, no. 353

309. (18718) Left fist
Marble. 0.06 m. Maamourah
Awad and Escoffey, 2008, no. 354

310. (18719) Broken left foot
Marble. 0.065 m. Maamourah
Awad and Escoffey, 2008, no. 355

311. (18720) Broken right hand
Marble. 0.080 m. Maamourah
Awad and Escoffey, 2008, no. 356

312. (18721) Flead of a lioness
Marble. 0.065 m. Maamourah
Awad and Escoffey, 2008, no. 357

313. (18722) Altar
Limestone. 0.17x0.12 m.

Awad and Escoffey, 2008, no. 358

187

THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

314. (18723) Cylindrical altar
Limestone. 0.08 x 0.125 m.

Awad and Escoffey, 2008, no. 359

315. (18724) Cylindrical altar
Limestone. 0.075 x 0.085 m.

Awad and Escoffey, 2008, no. 360

316. (18725) (no description preserved)

Marble. 0.125 x 0.13 m.

Awad and Escoffey, 2008, no. 361

317. (18726) Fragment of cylindrical funerary lamp
Marble. 0.09 x 0.09 m.

Awad and Escoffey, 2008, no. 362

318. (18728) Head of a sparrowhawk
Limestone. 0.065 x 0.009 m.

Awad and Escoffey, 2008, no. 364

319. (18730) Fragment of a mask of the god Bes
Limestone. 0.14 m.

Awad and Escoffey, 2008, no. 366

320. (18731) Fragment of the left arm of Bes
Limestone. 0.125 m. Maamourah

Awad and Escoffey, 2008, no. 367

321. (18732) Base of sacred sparrowhawk eating
Limestone. 0.042 m. Maamourah

Awad and Escoffey, 2008, no. 368

322. (18733) Disk

Limestone. 0.027 m. Maamourah
Awad and Escoffey, 2008, no. 369

188

323. (18734) Ram

Limestone. 0.06 m. Maamourah

Awad and Escoffey, 2008, no. 370

APPENDIX

324. (18735) Fragment of vase decorated with a female figures in relief
Limestone. 0.10 m.

Awad and Escoffey, 2008, no. 371

325. (18737) Mollusk valve
Shell. 0.055 m.

Awad and Escoffey, 2008, no. 373

326. (18738) Perfume bottle
Glass. 0.125 m.

Awad and Escoffey, 2008, no. 374

327. (18739) Perfume bottle
Glass. 0.075 m.

Awad and Escoffey, 2008, no. 375

328. (18740) Lamp shaped perfume bottle
Glass. 0.055 m.

Awad and Escoffey, 2008, no. 376

329. (18741) Fragment of a perfume bottle with handle
Glass. 0.07 m.

Awad and Escoffey, 2008, no. 377

330. (18742) Fragment of perfume bottle with handle
Glass. 0.065 m.

Awad and Escoffey, 2008, no. 378

331. (18743) Fragment of perfume bottle
Glass. 0.06 m.

Awad and Escoffey, 2008, no. 379

189

THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN MUSEUM

332. (18744) Mask
Glass. 0.03 m.

Awad and Escoffey, 2008, no. 380

333. (18745) Fragment of perfume bottle
Glass. 0.04 m.

Awad and Escoffey, 2008, no. 381

334. (18746) Mark for the plug of a Christian plaster vase
Limestone. 0.04 m. Maamourah

Awad and Escoffey, 2008, no. 382

335. (18747) Vase plug with the sign of the cross and letters
Plaster. 0.08 m. Maamourah

Awad and Escoffey, 2008, no. 383

336. (18748) Fragment of vase decorated with head of Bes
Terracotta. 0.15 m.

Awad and Escoffey, 2008, no. 384

337. (18749) Fragment of colored vase decorated with colored head of Bes
Terracotta. 0.15 m.

Awad and Escoffey, 2008, no. 385

338. (18750) Fragment of vase decorated with head of Bes
Terracotta. 0.15 m.

Awad and Escoffey, 2008, no. 386

339. (18751) Headless standing figure of Bes
Terracotta. 0.20 m.

Awad and Escoffey, 2008, no. 387

340. (18752) Pentalychnos with base
Terracotta. 0.155 m.

Awad and Escoffey, 2008, no. 388

190

APPENDIX

341. (18754) Fragment of figure of Bes
Terracotta. 0.09 m.

Awad and Escoffey, 2008, no. 390

342. (18756) Crowned head of black female figure
Terracotta. 0.052 m.

Awad and Escoffey, 2008, no. 392

343. (18757) Head of grotesque figure supporting its chin
Terracotta. 0.080 m.

Awad and Escoffey, 2008, no. 393

344. (18760) Figurine of symbols player
Terracotta. 0.14 m.

Awad and Escoffey, 2008, no. 396

345. (18761) Funerary lamp with figure of Ammon
Terracotta. 0.07 m.

Awad and Escoffey, 2008, no. 397

346. (18762) Roman funerary lamp marked on the spout
Terracotta. 0.085 m.

Awad and Escoffey, 2008, no. 398

347. (18763) Black funerary lamp
Terracotta. 0.097 m.

Awad and Escoffey, 2008, no. 399

348. (18764) Funerary lamp, fragment of handle with lunar disk
Terracotta. 0.095 m.

Awad and Escoffey, 2008, no. 400

349. (18765) Fragment of funerary lamp
Terracotta. 0.11 m.

Awad and Escoffey, 2008, no. 401

191

THE OMAR TOUSSOUN COLLECTION IN THE GRAECO-ROMAN

MUSEUM

350. (18766) Christian funerary lamp
Terracotta. 0.095 m.

Awad and Escoffey, 2008, no. 402

351. (18767) Rosette shaped funerary lamp
Terracotta. 0.11 m.

Awad and Escoffey, 2008, no. 403

352. (18768) Funerary lamp with a rabbit eating grapes
Terracotta. 0.07 m.

Awad and Escoffey, 2008, no. 404

353. (18769) Fragment of handle of funerary lamp
Terracotta. 0.095 m.

Awad and Escoffey, 2008, no. 405

354. (18770) Round fragment of funerary lamp with 4 burners
Terracotta. 0.135 m.

Awad and Escoffey, 2008, no. 406

355. (18771) Funerary lamp with 2 burners
Terracotta. 0.14x0.11 m.

Awad and Escoffey, 2008, no. 407

356. (18772) Funerary lamp with Sarapis bust on an eagle
Terracotta. 0.13 m.

Awad and Escoffey, 2008, no. 408

357. (18773) Funerary lamp
Terracotta. 0.062 m.

Awad and Escoffey, 2008, no. 409

358. (18774) Funerary lamp with grotesque walking figures, late period
Terracotta. 0.11 m.

Awad and Escoffey, 2008, no. 410

192

APPENDIX

359. (18775) Funerary lamp with figure of a reclining man
Terracotta. 0.08 m.

Awad and Escoffey, 2008, no. 411

360. (18776) Funerary lamp with a running charioteer
Terracotta. 0.075 m.

Awad and Escoffey, 2008, no. 412

361. (18777) Funerary lamp with bust of Sarapis
Terracotta. 0.09 m.

Awad and Escoffey, 2008, no. 413

362. (18778) Funerary lamp with figure of a running lion
Terracotta. 0.085 m.

Awad and Escoffey, 2008, no. 414

363. (18779) Funerary lamp
Terracotta. 0.075 m.

Awad and Escoffey, 2008, no. 415

364. (18780) Funerary lamp with extended spout
Terracotta. 0.105 m.

Awad and Escoffey, 2008, no. 416

365. (18781) Spout of funerary lamp
Terracotta. 0.08 m.

Awad and Escoffey, 2008, no. 417

366. (18782) Funerary lamp, late period
Terracotta. 0.095 m.

Awad and Escoffey, 2008, no. 418

367. (18783) Funerary lamp, late period
Terracotta. 0.09 m.

Awad and Escoffey, 2008, no. 419

193

THE OMAR TOUSSOUN COLLECTION

IN THE GRAECO-ROMAN

MUSEUM

368. (18784) Christian funerary lamp
Terracotta. 0.095 m. Maamourah
Awad and Escoffey, 2008, no. 420

369. (18785) Saint Menas flask
Terracotta. 0.085 m. Maamourah
Awad and Escoffey, 2008, no. 421

370. (18786) Saint Menas flask
Terracotta. 0.070 m. Maamourah
Awad and Escoffey, 2008, no. 422

371. (18787) Saint Menas flask
Terracotta. 0.085 m. Maamourah
Awad and Escoffey, 2008, no. 423

372. (18788) Saint Menas flask
Terracotta. 0.105 m. Maamourah
Awad and Escoffey, 2008, no. 424

373. (18790) Inscribed Funerary lamp,

Terracotta. 0.12 m. Inscription: SEN/EXOHO
Awad and Escoffey, 2008, no. 426

374. (18791) Funerary lamp with figure of a running charioteer
Terracotta. 0.065 m.

Awad and Escoffey, 2008, no. 427

375. (18792) Christian funerary lamp with a lion
Terracotta. 0.08 m. Maamourah

Awad and Escoffey, 2008, no. 428

376. (18793) Funerary lamp with an image of Isis standing with torch on the reverse.
Terracotta. 0.08 m.

Awad and Escoffey, 2008, no. 429

194

377. (18794) Funerary lamp
Terracotta. 0.08 m.

Awad and Escoffey, 2008, no. 430

APPENDIX

378. (18795) Funerary lamp with a fragment of a head of Medusa
Terracotta. 0.06 m.

Awad and Escoffey, 2008, no. 431

379. (18796) Funerary lamp with a grotesque image of Sarapis standing
Terracotta. 0.105 m.

Awad and Escoffey, 2008, no. 432

380. (18797) Inferior part of Bes standing
Terracotta. 0.095 x 0.125 m.

Awad and Escoffey, 2008, no. 433

381. (18798) Animal head
Terracotta. 0.065 m.

Awad and Escoffey, 2008, no. 434

382. (18799) Small conical vase
Terracotta. 0.065 m.

Awad and Escoffey, 2008, no. 435

383. (18800) Handle of triangular lamp with floral decoration
Terracotta. 0.105 m.

Awad and Escoffey, 2008, no. 436

384. (18801) Fragment of krater with the head of Dionysus on one side and a bull's head on the other
Terracotta. 0.16 x 0.17 m.

Awad and Escoffey, 2008, no. 437

385. (18802) Lamp handle with bust of Isis
Terracotta. 0.105 m.

Awad and Escoffey, 2008, no. 438

195

THE OMAR TOUSSOUN COLLECTION IN

THE GRAECO-ROMAN MUSEUM

386. (18803) Fragment of horse figure, late period
Terracotta. 0.09 m.

Awad and Escoffey, 2008, no. 439

387. (18804) Fragment of horse figure, late period
Terracotta. 0.11 x 0.10 m.

Awad and Escoffey, 2008, no. 440

388. (18805) Small vase with a handle
Terracotta. 0.17 x 18 m.

Awad and Escoffey, 2008, no. 441

389. (18808) Small oval vase with 2 handles
Terracotta. 0.11 m.

Awad and Escoffey, 2008, no. 442

390. (18809) Small vase with handle
Terracotta. 0.17 m.

Awad and Escoffey, 2008, no. 443

391. (18810) Ttrilychnos
Terracotta. 0.12 m.

Awad and Escoffey, 2008, no. 444

392. (18811) Vase with marked handles
Terracotta. 0. 76 m.

Awad and Escoffey, 2008, no. 445

393. (18806) Part of hanging lantern
Terracotta. 0. 21 m.

Awad and Escoffey, 2008, no. 446

394. (18807) Small vase with handle
Terracotta. 0.17 m.

Awad and Escoffey, 2008, no. 447

196

APPENDIX

395. (18828) Oval capital decorated with lotus
Limestone. 0.47 m.

Awad and Escoffey, 2008, no. 448

396. (18829) Round capital decorated with lotus
Limestone. 0.185x0.53 m.

Awad and Escoffey, 2008, no. 449

397. (18830) Engaged capital
Limestone. 0.205 m. Maamourah
Awad and Escoffey, 2008, no. 450

398. (18831) Angle of capital with colors
Limestone. 0.13 x 0.28 m. Maamourah
Awad and Escoffey, 2008, no. 451

399. (18832) Fragment of cornice with geometric design
Limestone. 0.29 x 0.52 m. Maamourah

Awad and Escoffey, 2008, no. 452

400. (18833) Fragment of cornice with geometric design
Limestone. 0.16 x 0.35 m. Maamourah

Awad and Escoffey, 2008, no. 453

401. (18834) Fragment of cornice with geometric motif
Limestone. 0.19 m. Maamourah

Awad and Escoffey, 2008, no. 454

402. (18835) Fragment of cornice with geometric motif
Limestone. 0.25 m. Maamourah

Awad and Escoffey, 2008, no. 455

403. (18836) Painted architectural fragment
Limestone. 0.08 x 0.16 m. Maamourah
Awad and Escoffey, 2008, no. 456

197

THE OMAR TOUSSOUN COLLECTION IN

THE GRAECO-ROMAN MUSEUM

404. (19887) Black scarab without inscription
Hard stone. 0.036 x 0.023 m.

Awad and Escoffey, 2008, no. 457

405. (19888) Part of the left profile of warrior bust
White onyx. 0.022 x 0.017 m.

Awad and Escoffey, 2008, no. 458

406. (20939) Corinthian capital
Nummulitic limestone. 0.58 m. Maamourah
Awad and Escoffey, 2008, no. 460

407. (20940) Corinthian capital with traces of polychrome
Nummulitic limestone. 0.56 x 0.55 m.

Awad and Escoffey, 2008, no. 461

408. (20949) Remainder of wall with hieroglyphic inscription and royal cartouche of Ramses
Yellow limestone. 0.87 x 0.45 m.

Bought by OmarToussoun in Dakheh Oasis
Awad and Escoffey, 2008, no. 462

409. (22174) Cross with graffiti of Christogram on the reverse
Bronze. 0.10 x 0.13 m. 6th century CE

Awad and Escoffey, 2008, no. 463

410. (23086) Unidentifiable head
Marble. 0.20 m.

Awad and Escoffey, 2008, no. 464

198

409 (22174)

199

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Abou el Atta, H. “Fleracles of Alexandria--A Comparative Study of the Forms of the Flero throughout the Graeco-Roman
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1992: 27-39.

Adembri, B., and Z. Mari. Suggestion! egizie a Villa Hadriana. Milan, 2006.

Adriani, A. Sculture del Museo Greco-Romano di Alessandria. Alexandria, 1933.

Adriani, A. Annuario del Museo Greco-Romano (1932-33). Alexandria, 1934.

Adriani, A. "Sanctuaire de I'epoque romaine a Ras el Soda”. Annuaire du Musee Greco-Romain, (1935-1939). Alexandria,
1940: 136-148.

Adriani, A. Sculture monumentali del Museo greco-romano di Alessandria. Rome, 1946.

Adriani, A. Annuaire du Musee Greco-Romain, (1940-1950). Alexandria, 1952.

Adriani, A. Repertorio d’arte dell’Egitto greco-romano. Serie A. Palermo, 1961.

Adriani, A. Repertorio d’arte dell’Egitto greco-romano. Serie C. Palermo, 1963.

Adriani, A. Lezioni sull'arte alessandrina. Naples, 1972.

Albersmeier, S. Untersuchungen zu den Frauenstatueen des Ptolemaischen Agypten. Mainz am Rhein, 2002.

Ambrogi, A. Vasche di eta romana in marmi bianchi e colorati. Rome, 1995.

Anagnostou, H. "The Mysterious Artifacts of Molino della Badia”. The Journal of Mediterranean Anthropology and Archaeology
1 (1981): 157-165.

Ashton, S. A. Ptolemaic Royal Sculpture from Egypt: The Interaction between Greek and Egyptian Traditions.

Oxford: Archaeopress, 2001.

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Ashton, S. A. The Last Queens of Egypt. Harlow: Pearson/Longman, 2003.

Ashton, S. A. "The Egyptian Tradition”. In Alexandria Real and Imagined, edited by A. Hirst and M. Silk. Aldershot, 2004: 15-40.
Ashton, S. A. Roman Egyptomania. London, 2005.

Ashton, S. A. "Cleopatra, Queen of Egypt”. In Cleopatra: A Sphinx Revisited, edited by M. M. Miles. Berkeley, 2011: 21-36.
Awad, M., and C. Escoffey. Prince OmarToussoun and His Archaeological Legacy. Alexandria, 2008.

Badawy, A. Coptic Art and Archaeology: The Art of the Christian Egyptians from the Late Antique to the Middle Ages. Boston,
1978.

Bagh, T. Finds from W. M. F. Petrie's Excavations in Egypt in the Ny Carlsberg Glyptotek. Copenhagen, 2011.

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